the yortan culture within the early bronze age by turhan kiamil volume i

THE YORTAN CULTURE WITHIN THE EARLY BRONZE AGE

OF WESTERN ANATOLIA

by

Turhan Kiamil

VOLUME I

Submitted to the Faculty of Arts in fulfilment of the requirements

for the degree of Doctor of Philosophy in the Institute of Archaeo-

logyj University of London, 1980.

TABLE OF CONTENTS

VOLUME I

INTRODUCTION

CHAPTER 1 BURIALS OF YORTAN CEMETERY

CHAPTER 2 FINDS FROM YORTAN. CEMETERY

a) Pottery

b) Idols and Figurines

c) Spindle Whorls

d) Metal Objects

Page

1

5

21

21

34

37

39

CHAPTER 3A COMPARATIVE ANALYSIS OF THE YORTAN POTTERY 41

Class A Pottery 42

Class B Pottery . 88

Class C Pottery 91

Summary 96

CHAPTER 4 CHRONOLOGY 103

CHAPTER 5 THE YORTAN CULTURE OF WESTERN ANATOLIA 119

CATALOGUE OF THE FINDS

ABBREVIATIONS

BIBLIOGRAPHY

134

198

200

ABSTRACT

Yortan is a prehistoric burial site in the valley of Bakir gay

(Kaikos) in western Turkey. It was found and excavated by a French

engineer, Paul Gaudin, some eighty years ago, but results have never

been properly published. The finds which constitute the material

offerings to the dead are now widely dispersed between some seven European museums. The research aims at bringing, for the first time,

this well known but improperly understood material of prehistoric Anatolia into one single body of finds, and in that sense it could be considered as the long overdue publication of the site. Two site

plans which belong to the archives of the British Museum, Western

Asiatic Department, are also brought to light for the first time and

make an important addition to the understanding of the burial customs

of Yortan and Bronze Age western Anatolia in general.

Large pithoi, up to 2m in height, were used as coffins, where

dead adults lay in a contracted position on, one side. Infants and

children were put in smaller jars. The tomb furniture consists

mostly of pottery in the form of jugs and jars,, and, less frequently,

bowls. Out of 107 burials, over 250 individual pots could be traced

and illustrated. Yortan itself is without any absolute date or

stratigraphy. Thus the only possible way to bring the site into the

established sequence of Anatolian and Aegean prehistory is by a com-

parative and to a lesser degree typological analysis. Three major

Anatolian sites, Troy/Hisarlik, Thermi and Beycesultan, are the major

source of the parallel material. In conclusion, Yortan appears-to

belong to a pottery culture of Early Bronze Age date that geographi-

cally occupies the north-west corner of Turkey, perhaps with its main

centre lying in the Balikesir region. Its westward extension reaches

the Aegean caost and the off-shore islands, ie. Lesbos, Chios. The

Gediz (Harmos) valley might define the immediate southern boundaries,

while in the North the celebrated site of Hisarlik, better known as

Troy, might well be a part of this inland culture, representing a

rather poor and coastal variant.

1

INTRODUCTION

In 1900 Paul Gaudin, an engineer in the employment of the

Ottoman Sultan, began to excavate a prehistoric cemetery at a location called Yortan near Gelembe, ca. 16.5 km north-east of Kirkagap and ca. 55 km south of Balikesir. In October of the

following year a more extensive digging was carried out, this time

with the assistance of V. Chapot from the French School of Athens.

Over one hundred burials were thus cleared out with an apparently

unsuccessful attempt to locate the settlement at the nearby cavdar

Tepe. Monsieur P. Gaudin's involvement in the field seems to have

come to an end at this point. In the following eighty years much has been said and written about Yortan, yet neither its chronologi-

cal limits nor meaning are clearly demonstrated while a term

"Yortan Culture" has become a-familiar though somewhat ill-defined

part of the Early Bronze Age of western Anatolia.

Two main reasons underlie the cause of this controversial interest in Yortan. First, Gaudin was never able to produce a full

publication of his work and only a brief report was presented to

1'Academie des Inscriptions at Belles-lettres in 1901 when some of the finds were also displayed before the members present. The

absence of a scientific report has naturally obscured many details

of the site, leaving many questions without definite answers. Neither the stratigraphy of the site nor the burial customs of the

Yortan people could be determined, and even the exact location of Yortan remained uncertain. Secondly, after the fashion of his times

Gaudin saw no harm in removing most of his finds out of Turkey and

in distributing them to various museums in Berlin, Brussels, Paris

and London. Thus it is now a very costly and time-consuming occu-

pation for anyone to attempt a study of the whole of the pottery

from Yortan. In 1936 K. Bittal and J. Stewart undertook to inves-

tigate the nearby site of Babaköy, then in the process of being

robbed by the villagers. This and a later research by K. KSkten

at Babaköy were very useful in the way of confirming some of the

2

burial customs that had become apparent at Yortan. A, full under-

standing of the culture involved was.,, however, frustrated by the

disturbed condition of the site. Some fragmentary pieces of pottery

and several complete pots from three intact tombs which had escaped the looters' attentions could reveal the identity of the site to be

very similar to that of Yortan but were not enough to present a

comprehensive knowledge on the pottery repertoire of the Yortan

Culture. ý 1.1 1

In this study the pottery. of Yortan cemetery is forýthe first

time presented in a nearly full form, together with two plans which

are faithful reproductions of Gaudin's original drawings available in blue print. The whereabouts of the originals and the rest of the pencil drawings of the burials are unknown to-the author. -With-

out the excavation report by. the excavator himself there are still

many questions to which satisfactory answers cannot be given today.

This is. however, no fault, of Monsieur Gaudin who worked with care.,

recording conscientiously, and was methodical and precise even by

present standards of archaeological investigations. His notes and'

sketches bear witness to work towards a full publication which some-

-, how never materialised. The fact that not all of the finds can today be referred to their original locations in the tombs is a

serious defect that lies: not with him but with those who were res-

ponsible for the good keeping of his records and finds. In this

endeavour to obtain a better understanding of Yortan, an effort has

been made to present as clearlyýas'possible almost everything that

was lifted from the site. The collection at St. Germain-en-Laye

makes a particularly important addition to various wares and shapes

which had long been noted from other and better known collections

but could not be fully analysed through lack of proper publications.

One is now also helped by. the more recent developments in the pre-

history of western Anatolia. Besides Blegen's published work at

Troy/Hisarlik there is a full Early Bronze Age pottery. sequence of

Beycesultan in the south-west and Yortan, situated in between these

two sites, can now be analysed in a comparative study without much

difficulty. Extensive surveys by D. French in the regions of

3

Balikesir, Akhisar and Manisa help to define the limits of-the

culture as represented at Yortan, and the preliminary reports from

the Karatq-Semayük excavations in the plain of Elmali and from

Sardis in the Gediz (Hermos) Valley throw further light on the

burial customs.

The main theme of the research is based-on"the material which

was excavated by P. Gaudin at Yortan and some care has been taken

not to confuse it with the so-called "Yortan Culture" pottery. Today this pottery from Yortan can easily be located in museum

registrations under the title of "Yortan" and as "presented by

P. Gaudin" or his widow. The latter group contains a selection of

pottery vessels which display features similar to those of Yortan

but can come from anywhere in a large area of the "Yortan Culture"

as defined in Chapter S. None of these often rare and exquisite

objects was scientifically excavated but all have come to be known

through the "mediation" of what one may describe as that immortal

parasite of ancient remains, the antiquity dealer. It iss there-

fore, with some regret that these plundered riches are included

here and have been done so only for the sake of demonstrating some

of the significant variations within the Yortan Culture itself.

The research was undertaken with the encouraging and most

stimulating supervision of Mr. J. Mellaart to whom the author also

owes most of the material illustrated in. Fig. 89-92,94. Such

a widely travelled research programme is well beyond the means of

an ordinary student and was made possible only by a generous grant

of L605.00 from the Central Research Fund of London University.

Various museum authorities were most generous and helpful in grant-

ing permission and facilities to study their collections. At the

Istanbul Archaeological Museums Dr. N. Asgari and Miss B. Aksoy

were helpful in every conceivable way; in London Dr. J. Curtis

and Dr. D. Collon of the British Museum offered all the necessary

assistance with friendship and patience, while Dr. R. Barnett kindly

informed me of the existence of the long forgotten plans in blue

print copies; subsequent to this discovery Mr. T. Mitchell very

4

generously allowed me to study them. In Brussels Prof. Dr. D.

Homes-Fredericq and Dr. C. Skinkel-Taupin of the Musses Roysux

d'Art et d'Histoire were most welcoming for their interesting

"Yortan Collection"; I owe my deep gratitude to Monsieur D. Beyer

and Mademoiselle A. Caubet of the Muses du Louvre for offering

valuable help and advice on the various Yortan Collections in the

museums in Paris. I thank Prof. J-L. Huot for allowing me to work

on the small collection it 1'Institut d'Archeologie Orientale,

Mademoiselle E. Fontan for the small but important group in the

Muses National de Ceramique at Sevres and finally Monsieur J-P. Mohen

without whose good will it would have been quite impossible to gain

access to the little known material in the Chateau de Saint-Germain-

en-Laye.

5

CHAPTER 1 BURIALS OF YORTAN CEMETERY

"Les fouilles revelerent'un alignement de jarres funeraires

exactement conforms a la direction du chemin, avec des-intervalles

generalement inegaux entre les pieces. Par endroits, 1'orifice

d'un des vases s'ouvrait sur Is fond d'un autre place an avant, Is lisiere du sentier, at ayant moms orientation. Des tranchees,...

furent ouvertes des-deux cotes de la route selon ces directions.

Les travaux ont bien montre qua Is chemin-'actuel etait is partie

centrals at la plus importante du champ'd'inhumation; ils ont aussi

fait decouvrir des prolongements suivant°la normale, on Est at an

Duest, at ant ete{pousses assez loin dans les directions diverses

pour donner une idea precise de 1'etendue de Is necropole antique

at reveler le trace approximatif de la peripheries

z ', Si les foui'lles n'ont titre poursuivies assez longtemps pour faire connaitre la totalite des objets qua recele la necropole, an

revanche elles permettent dejej, an raison du soin apporte aux

releves., de donner des renseignements sur ces objets at sur. leur

disposition.

i Ile as divisent en deux series: 1. les°grandes jarres ou

pithoi qui etaient de, veritables sarcophages; ', '2. Is mobilier fune-

raire contenu avec les corps dans les, jarres,...... "- °

"Les pithoi sont repartis dans le-champ sur un double aligne-

ment. La position qui lour a ate donnee est ä peu pros horizontale;

dans Is plupart des cas cependant., ils presentaient une legere in--

clinaison, be centre, de be base etant a un niveau un peu inferieur, a celui de l'orifice; et ainsi toutes ces jarres raises ä decouvert

dans lours trous, dont los rebords paraissaient los proteger,, t faisaient, avec leurs larges cols un peu redresses comme pour manager

une trajectoire., l'effet dune rangee de vieux obusiers en batterie.

C'etait bien Is lour disposition primitive. Ceux memes qui

6

ant ate brises la conservent encore. Le plus souvent on retrouve, intacte, la dalle large at plate, rectangulaire ou parfaitement

carree, qui bouchait l'ouverture du vase. L'orientation des pithoi

est partout sensiblement la memo; 1'orifice est tourne vers 1'Est,

at s'il ya parfois une legere deviation, alle nest jamais considerable.

Ces grandes jarres ont incontestablement joue Is role de sar-

cophages. La plupart recelaient des debris d'ossements, tellement

attaques at ranges par 1'humidite qua Is fait soul de los deplacer,

en lea maniant avec precaution, suffisait a las reduire a l'etat de

fine poussiere jaunatre. L'aspect de ces ossements, lour Couleur,

permettent d'ailleurs d'ecarter 1'hypothese de l'incineration.

Avec les debris humains., les jarres renfermaient une grande

quantite d'objets, des poteries an majorite. On ne saurait deter-

miner Is nombre moyen des pieces contenues dans chacune d'elles;

il variait de 1ä 16; mais il semble avoir ate an rapport avec Is

nombre des corps deposes dans cheque jarre, at plusieurs d'entre

elles ont certainement servi de sepulture ä plusieurs corps. nl

These well-known general observations of P. Gaudin can now be

fully established as archaeological facts through the plans of the

excavation and the sketch drawings of each pithos burial (Fig. 1-11)

Besides a few minor omissions, is* no. 42 burial missing on Plan II,

or the absence of heights on the contour lines, the plans of the

area and the excavations are remarkably precise. Clearly Gaudin's

engineering background was to his advantage, giving him all the

technical training which had not yet been fully introduced into the

study of antiquities. The circumstances surrounding the beginnings

and the end of the excavations are not known. It seems that

Gaudin's attention was drawn to the site by the discovery of some

1. M. Collignon., 1901, CRAI: 810 ff.

7

of the burials by the villagers, and in the course of two seasons'

digging he was able to locate and examine one hundred and

seven burials in pithoi or jars mainly lying under the Kirkaga5 - Gelembe road. Several trenches laid out perpendicular to the road

show that the distribution of the burials over the gently rising

ground is uneven, that while nothing was discovered on the south-

eastern section there is every possibility of finding a lot more

burials in the north-eastern parts towards Kelembe. Also the area to the north of the road and beyond the rocks at the smaller Kirkaga9 - Kelembe route could be holding a part or the rest of the

cemetery, (Plan II),; Obviously a thorough exploration of such a

sprawling burial ground is a costly and time-consuming undertaking

which for one reason or another could not be maintained by Monsieur

Gaudin beyond the second season.

More difficult to explain is the extension of, the excavations to the small mound of cavdar Tepe ("Tchavdar Tepe" on Plan I).

There is no detailed plan or recording of the four trenches opened

up near. the summit. One trench is a square-sounding-on the east

side and was probably unproductive. The other three'are in a

cluster on the south-east side. Two of'the trenches are in the

form of curving parallel lines, on the circumferences of two circles,

and the third is a narrow straight trench placed independently and

on the radius of the circles. This curious cluster of trenches

shows the intriguing but obscure detail of three pithoi, two up-

standing and a third lying horizontally in a'. north-south direction

(Plan I). Without the notes of the excavators I am unable to see

the purpose of this work; it could be that on ýavdar Tepe further

prehistoric remains, possibly the settlement site of the cemetery,

were discovered; or the illustration of the three trenches,

repeated on both plans and marked with a radius of six metres for

the circular trenches is meant to be the scale to the plans.

The illustrations of each burial on graph paper and to the

scale of 1: 10 cm-are equally-precise. The-contents of each jar or-

pithos is sketched out, including the human bones, and one may well

8

assume that with such careful recordings and illustrations the

excavators were also able to keep notebooks with a consistent

numbering system that related each object to individual tombs.

It is, therefore., all the more regrettable that today these notes

are not available, and the museums to whose custody the finds were

passed on have lost the numbering systems. Perhaps the most serious

omission in Gaudin's excavation methods is the lack of any strati-

graphic recording which may have produced results in agreement or disagreement with the three-fold classification of the pottery.

2

On the other hand it could be argued that since the depth of the

soil deposit which held the burials is only 1.00 m, to 1.50 m,, it

would have been largely irrelevant for chronological purposes, the

later burials (with Class C pottery) not necessarily occurring in

shallower levels. It is more likely that the growth and expansion

of the grounds was gradual, and different parts were used in differ-

ent periods so that one can propose the existence of three broadly

separate locations within the general boundaries of the cemetery,

where in each such location one of the three classes of the pottery (Class A, 8o C) may have been in the majority. Naturally our inability to refer the finds to the burials limits this view to a

mere hypothesis which today can be confirmed only by a thorough

investigation of another nearby cemetery.

With the nature and limitations of the available records out-

lined, one may proceed to demonstrate, in conjunction with other

broadly contemporary sites of western Anatolia, the burial habits

of the Early Bronze Age people at Yortan. A quick glance at the

site plans at once reveals an interesting detail, that the choice

of grounds for the burials lay on a rocky terrain. In one place,

south of the road., the pithoi are actually situated around several

small outcrops of rock. This disposition of the pithoi immediately

brings to mind the observation that in the Cyclades the lay-out of

2. See Chapter 2y p. 24-

9

the cemeteries is suited to the physical formation of the terrain

with the rock outcrops used to divide the burial ground into sepa-

rate pockets of burials. 3 If we are correct in speculating a west-

ward extension of the Yortan necropolis, then a similar disposition

of burials becomes apparent at Yortan as well.

The investigations at nearby Babaköy, which may be considered

a cemetery site identical to Yortan, were carried out by K. Bittel

and J. R. Stewart in 19364 and later by K. Kdktan in 1949.5 Unfor- tunately Bittel's attention was drawn to this site by the news of illicit diggings so that the results obtained were largely based on robbed tombs and are, therefore limited in scope. In both cases the scholarly interest in the site appears to have been a restrained one which did not go as far as a proper survey of the area. Two

prehistoric sites at Sardis on the shores of Marmara Gölü (Lake

Gygean), 6 and tombs and habitation deposits at Karata? -Semayuk in

the Elmali plain? are the most recent and better investigated

sites. a Karatap is particularly important in offering a unique

combination of archaeological data; this is as yet the only Early

Bronze Age site in western Anatolia where both the cemetery and the

settlement levels standing side by side have been carefully and scientifically excavated. The location of the Elmali plain among the mountains of Lycia and not necessarily on the'main current of contemporary cultures may raise doubts over the validity of the

comparative material from the site. Moreover this plain belongs to

the south-west cultural province of Anatolia, which is in many ways

3. C. Doumas, 1977, St. A. 48: 31 ff. 4. K. Bittel, 1939, A. f 0.13: 1 ff. 5. I. K. Kökten, 1949, Bell. 13: 811 ff. 6. D. G. Mitten and G. YU4r6m, 1974, Arch. 270 no. 1: 22 ff; 1971,

HSCP 75: 191 ff; D. G. Mitten, 1968, BASOR 191: 6 ff. 7. M. J. Mellink, 1964, AJA 68: 272 ff; 1965, AN 69: 241 ff;

1966, AN 70: 246 ff; 1967, AJA 71: 253 ff; 1968, AJA 72: 254 ff; 1969, AJA 73: 319 ff; 1970, AN 74: 345.

8. A large necropolis at Midas City ought to be added to the list. It was excavated by H. ýembel and is yet to be published. See C. H. E. Haspels (1971) The Highlands of Phrygia I. p, 285, no. 3.

10

different from the Early Bronze Age of the North-west Where Yortan

is situated. Yet such strong regional variations as those observed in the pottery traditions do not seem to have persisted in the

burial customs and cultic beliefs where instead there is a remarkable uniformity throughout the Early Bronze Age of Western Anatolia.

Everywhere, except at Issas on the south-west coast, the method

of burial is predominantly in pottery vessels, large and small, and in extra-mural cemeteries outside the settlements. There is cer - tainly no mention of architecture at Yortan or Babaköy while at Beycesultan and Troy /Hisarlik the graveyards were clearly outside the settlements and are yet to be found. -A few child burials in

jars and deposited under the house floors are the only exceptions to this rule. At Sardis the pithos and cist graves seem to be mixed

with some habitation deposits but not with any architecture. 9

Presumably, therefore, as at Karatap-Semaybk, the burial ground had

encroached upon an-abandoned domestic quarter of the settlement but

at no one time did the living and the dead share the same ground, 10

Further confirmation of-this fact in the burial tradition of-western Anatolia is found at Ovabayindir in the plain of Balikesir. In

1956 a brief excavation was carried out on one of the two small

mounds on either side of the ' Degirmenderesi. 11 The sounding revealed the remains of a rectangular house and a child burial in a jar under the house floor. But the large and rich pithos graveyards of this

and other settlements of the area lay elsewhere outside the settle-

ments. 12 This widespread tradition of the extra-mural cemeteries

is, in fact, -not limited to the: Early Bronze Age but-continues into

9. D. G. Mitten and G. YUgrüm, 1974, Arch. 27: 25; 1971, HSCP 75: 191 ff.

10. M. J. Mellink, 1969, AJA 73: 319; T. S. Wheeler, 1974, AJA 78: 416.

11. E. Akurgal, 1958, Anatolia 3:, 156 ff. 12. Ibid., p. 157. The team was able to see some intact but many

robbed burials in the village of Ovabayindir and outside it. Also some at Mandraköy (Yeniköy), 10 km south-east'of Ovabayindir.

11

the Second Millenium BCC together with the use of pottery vessels

as coffins. Several such tombs were found in the Middle Bronze Age

deposits at Karataq-Semayük. 13 The cemeteries at Gordion near

Yassi HUyük14 and Yanarlar near Afyon15 are from the Old Hittite

period. The former site contains a mixture of cist graves, simple inhumations and pithoi, but the Yanarlar burials are exclusively in

pithoi.

Gaudin's excavation plan (Plan II) shows one hundred and seven burials, but only one of these vessels could be traced today. 16

It is said to be the largest example found on the site and measures

ca. 1.75 m in height and over 1.00 m in diameter at the widest

part. Smaller vessels must have been used for infants and children (Fig. 4p 59 6y 9). At Babaköy one such burial is no. 1.17 At

Karatag-Semayük out of some five hundred tombs a large number belong

to infants and children in smaller jars 18 and it is logical to

assume the presence of the same practice at Yortan as well. Ironi-

cally, the origins and development of long lasting and distinctly

west Anatolian pithos burial tradition are yet to be discovered.

The earliest known jar burials are at Beycesultan Level XXII, two

children in coarse ware vessels. 19

Of roughly the same date are

several jar burials of children at Kephala on Keos where a small cemetery contains the earliest known built graves of the Aegean*

20

A data in the Late Neolithic of the Cyclades, between the Saliagos

Culture and the Pelos phase, makes Kephela ancestral to the well-

known cast graves of the Early Cycladic period. 21 The presence of

these jar burials among the stone graves can be interpreted in

13, M. 3. Mellink, 1967, AJA 71: 257; 1969, AN 73: 330. 14. M. 3. Mellink (1956) A Hittite Cemetery at Gordion,. p. 3 ff. 15. K. Emre (1978) Yanarlar. A Hittite Cemetery near Afyon, 16. CVA no. 31 Brussels, Belgique. Pl. 4. no. 16. 17. K. Bittel, 1939, A. f 0.13: 9. 18.3. L. Angel,, 1976, AN 80: 388. 19. S. Lloyd and J. Mellaart (1962) Beycesultan I, p. 26. 20.3. E. Coleman (1977) Keos. I. Kephala, P. 44 ff. 21. Ibid., p. 109 ff.

12

terms of contacts with western Anatolia where-the custom could

have already become established and had; even overflowed onto the

islands. 22'. On-the other hand it is essential to make"a distinction

in the attitude of the ancients towards-aýdead child and a dead

adult; -in the former case there seems to have been the practice

of burying a dead child in a jar, intra-murally or extra-murally,

without a fuss or ceremony'while in the latter-case the use-of a

proper burial jar of specific-details was the established custom.,

-The former habit was naturally practised almost-anywhere from ... Greece and the Balkans to Syria, 23

using any largish pot or jar but not necessarily being associated to>the traditions of burying

adults in pithoi or other types of graves. In-other words it was

one thing to put a dead infant or, child away under=the-floor in a

convenient pot and another matter to bury-regularly the population

, of a settlement-in large., sometimes colossal vessels which had to

be manufactured'especially for this purpose. -- The presence of a few

jar burials with children on Keos or-elsewhere'on, the islands may therefore not imply-a=knowledge or acceptance of the pithos burials

of Yortan or other Anatolian sites. So far Kos has produced the

only burials24 that can be considered true pithoi beyond western Anatolia in the Early Bronze Age of theýAegean. -- In-the East - several sites in Central Anatolia.. - ie. Ahlatlibel, Aligar, KUltepe -

. are well supplied with such tombs together with-other types. 25

Beyond Anatolia the Byblos cemetery of the "Eneolithic" period

comes nearest-to resembling the west Anatolian examples. 26

22. T. S. Wheeler, 1974, AN 78: 423, 23. A similar opinion is expressed also by T. OzgUq in relation to

Kusura and Aligar burials. See Die Bestattungsbraeuche im Vorgeschichtliche Anatolien (1948), pp. 28p 29. For a list of burials in Anatolia see T. S. Wheeler, 1974, AAA 78: 425.

24. L. Morricone,, 1950, B. d. A. 35: 324. One. may also assume that other Eastern islands along the Anatolian coast - Lemnos, Chios, Samos - were familiar with the burial method.

25. T. ÖzgUq. op. cit., 'pp. 22-41. 26. T. S. Wheeler, 1974, AN 78: 421 ff.

13

In'. this study the Yortan burials which had contained the "A"

Class pottery are dated to the EB1 period at the earliest, and

this is also the earliest date which can possibly be ascribed to

any of the known Anatolian pithos cemeteries. The pithoi, often

over 1.00 m in height, some sometimes over 2.00 m at Karate? -

SemayUk, 27

show quite an advanced potter's technology capable of

giving a sturdy red/orange fabric and shaping the vessel to such

particular details that suit its purpose admirably well. Naturally

one suspects a long chain of development which reached perfection

at the E81 period, at least in certain parts of western Anatolia.

Hacilar near Burdur is the nearest excavated early site, and no

such burial was found there. The odd twenty-two skeletons buried

in Settlements VI-I were in simple, oval pits cut into the earth. 28

The only traces of the later burial customs that can possibly be

traced back to the site are the extra-mural position of the cemetery

and the introduction, for the first time, of pottery into the scanty

burial gifts. 29

Somewhat blemished pottery burials at Kusura which

show such coarse habits as covering the dead with broken sherds of

pottery or halving a jar and then placing the two halves end to end

to cover the whole body30 could be considered an early stage in this

development. However, the pottery (Class A) recovered from the

graves does not look particularly early and such less distinguished

methods of burials may well be explained as due to the poorer eco-

nomy or craftsmanship of the people who could not always build or

afford the larger pithoi.

Gaudin's observation that all the pithoi were placed to the

same alignment can now be seen on the excavation plan(plan II).

In all the tombs the opening is turned to the south-east, east- or

north-east, that is to say the orientation of the cemetery is an

east-west direction. This consistency in the direction of the

27. M. J. Mellinks 19650 AN 69: 243; 1967t AN 71: 253. 28. J. Mellaart (1970) Excavations at Hacilar, p. 88 ff. 29. Ibid. p p. 89 ff. 30. W. Lambs 19369 Archaeologia 86: 55.

14

Yortan-burials is in fact a general rule applying to all other

Early Bronze Age burials of western Anatolia. At Babaköy, both

Bittel and Kökten were able to note this custom in the intactýas

well as the robbed graves. 31 Similarly, the'rule is invariably

the practice at Sardis-Ahlatli Tepecik, 32 Sardis-Eski Balikhane, 33

Aphrodisias, 34 and Karatap-Semayük.

35 Even at Iesos where the

cist graves were in use, suggesting affinities more in the direc-

tion of the Cyclades than Anatolia, a large number of the tombs

are placed more or less towards the sun rise. 36 The custom does

not survive into later ages. The Yanarlar pithoi are without a

consistent direction37 while at Gordion only the'pithoi are more

or less to the same alignment, south-east to north-west. 38

The stone cist graves which take the form of a rectangular or

round box, lined and covered with flat slabs of stone, are not

reported from the North-west. Only one burial at Yortan, no. 80

(Plan'II f Fig. 9 )' may be a sort of cist grave where

besides the flat stone lid two more slabs were placed along either

side of the incomplete pithos, probably as supports for its weakened

structure. Otherwise Sardis-Ahlatli'Tepecik would appear to be

the most northern occurrence of this Cycladic type of grave. 39

Their absence at Karata$-Semayük is noticeable but they are found

at the more inland site of Kusura. " The one exception to the -

31, K. Bittel, 1939, A. f 0., 13: 5 ff; I. K. Kökten, 1949, Bell. 13: 812.

32. D. G. Mitten and G. Yügrüm, 1974, Arch. 279 no. 1: 26. 33. D. G. Mitten and G. YU rüm, 1971, HSCP 75: 34. B. Kadish, 1921, AJA 75: 126. 35. M. J. Mellink, 1964, AJA 68: 271. 36. D. Levi, 1965-66, ASAA 27-28: 516. But one exception to this

rule in western Anatolia occurs at Kusura where disturbed burials were oriented to the West. See W. Lamb, 1936, Archaeologia 86: 55.

37. K. Emre (1928) Yanarlar. A Hittite Cemetery near Afyon. p. 16. 38. M. 3. Mellink (1956) A Hittite Cemetery at Gordian. p. 3. 39. D. G. Mitten and G. Yiirüm, op. cit., p. 26. Two cist graves

were found at Babaköy, but K. Bittel dated them to historic

times. See 1939, A. f 0.13: 10.

15

exclusive use of the pithoi and jars-in-the north-west cemeteries

is the remarkable finds reported-from Dorak on the southern shores

of Lake Apolyant. There, apparently two individuals were found

deposited in two pithoi, but two other persons, perhaps a "royal

couple". lay in state in richly furnished shallow-graves with

stone linings. 40 These graves differ from the-Cycladic or Iasos

cists and are more like the royal tombs of Alaca HUyük. 41

According to the finds at-Karatag-Semayük the stump or-round base of the pithoi was placed into a hole dug into the base rocks42 thus anchoring the vessel to the ground. The rest of the vessel lay at a slight angle rising gently to the ground surface and with., the neck and mouth facing the East. These particulars in shape and disposition of the pithoi wares one suspects, deliberately

designed to facilitate the deposition of the dead-and of the offerings. The-size and weight of some of these vessels are such that

their transportation for long distances would have been a very laborious, if not an impossible, task and therefore one may safely

assume that the entombment of the dead, and the offerings took place

at the side of the grave after the empty jar had been put into

position. Also the distance between the potter's grounds where the

the pithoi and jars were manufactured, presumably at the site of - the settlement, and the cemetery could not have been very considerable. an these assumptions one may conclude that each settlement site marked on the map also indicates a-nearby. burial ground, and the settlements of-Yortan and Babaköy cannot be far off.

The slight remains of the Yortan skeletons were not instructive

40. J. Mellaart, 1959, ILN 28 November: 754 ff. _ 41. H. Z. Kopay (1951) Alaca Hüyük Ka2isi. 1937-1939. 'p. 53.,

Pl. CXV-CCVII. . 42. M. J. Mellink, 19649 AJA 68: 272.

16

for the excavator, 43

while at the'disturbed Babaköy cemetery only

a few features concerning the details of the position of the body

could be obtained. Indeed, at the latter site the disorderly

state and inadequately preserved condition of the skeletons led Kbkten to consider the possibility of the tombs containing only the secondary burials, 44

where an earlier stage of the funerary

rite would involve decomposing the corpse elsewhere outside the burial jar. Outside' Anatolia this process of excarnation away from the final burial place has been suggested for the rectangular ossu- aries of East Crete and cist graves of Aghios Kosmos in'Attica. 45

At Yortan Kökten's view finds some confirmation in the drawings of Gaudin where only the skulls of the human remains are indicated. However, better preserved and more carefully recorded Sardis and Karatap finds now stand to eliminate this opinion. As Bittal could observe on the meagre remains of the Babaköy skeletons,

46 the deceased was invariably tucked into-the pithos intact and left to

rest in a contracted position on one side. The head pointed to the East and the feet to the West. Often one tomb could be'used for

several persons. In such cases the remains of the previous indi-

vidual would simply be brushed to the lower, narrower end of the jar and thus room would be made for the newcomer. The Babakby

pithoi are said to contain two or three individuals. At Yortan the

record figure is six in no. 23 pithos (Plan II 0 Fig. 3) which has a very broad mouth and shoulder. But here two persons per tomb appears to have been the more-common practice. At Karatal the greatest number is eight in Tomb 112 of the Main Cemetery. 47

43. T. S. Wheeler, op. cit., gives a reference to a study a? some Yortan bones on p. 420, no. 51. Presumably the article in question deals with a few human bones that were given to the Brussels collection together with the large pithos, see p. 11 above.

44. I. K. K6kten, 1949, Bell. 13: 813. 45. C. Renfrew (1972) The Emergence of Civilisation. p. 429,430. 46. K. Bittel, 1939, A. f 0.13: 6. 47. M. 3. Mellink, 1965, AJA 69: 243.

17

At Yortan"and elsewhere pottery is by far the most common type

of object given-to the dead. Metal finds are very rare, possibly

indicating that still in the E81 and early EB2, which is the date

preferred here for. the majority of the burials, metallurgy had B.

limited spread in western Anatolia. 48 One or two tombs were fur-,

nished with three flat-marble figurines, 49 and some others with

terracotta spindle whorls. 50 At present there is no evidence for

the offering of food in the way of animal meat or fruit. In fact,

bowls which would normally serve as containers for such offerings

form a relatively small-number of vessels from the burials. Jars

and jugs are present in much larger numbers, possibly suggesting

cultic beliefs more in the direction of libations and offerings of

liquids than solid food.

It has been'suggested that the pottery of Yortan and other

cemeteries could be special groups of, vessels belonging to the

dead and not representative of the wares found onýthe settlement

sites. 51

The opinion held here is that among the fifteen shapes.

of Class-A pottery only a few shapes can be considered as such

while-the-remaining majority., including Class"B and C vessels, need

not be-so in their basic forms and wares. The smallest vessels,

the juglets, are surely miniature versions of Shape X and XII jugs

and were-probably-ntoysn for children, living or dead. The same

purpose may apply also to the small bird-shaped jugs. The larger

examples and the triple jars, Shape XV, on the other hand, may well

be objects of the-cult and are found on settlement sites as well as

in burials. Jars of Shape II form another distinct and popular

shape of small vessels. Some-of them were-found to contain a-red/

orange coloured substance and were probably containers of some

cosmetics or a special stuff such as red or yellow ochre used in

48. See Chapter 2p p. 39 49. See Chapter 2#-p. 3A- 50, See Chapter 29 p. 37 51. See Chapter 3p p. q7

18

the cult of the dead. Such a custom is well illustrated at the

Neolithic site of catal HUyUk where in some of the burials the

skull and/or skeleton were smeared with red paint. 52

At Yortan

and Babakdy the skeletons were-found in poor condition of preser-

vation, and without hard evidence the point cannot be verified for

the Early Bronze Age. A similar situation is confronted in the

Cycladic graves where marble bowls and palettes have been found

with, remains of a red pigment. 53

The limited space inside the pithos tomb and the adverse

physical conditions for-the preservation of the organic matter

obscure the exact position of the offerings in relation to the

contracted skeleton; or probably no particular significance was

attached to such as arrangement. One can only suppose that such

objects as. "toys" were possibly placed near or into children's hands to keep them happy or preoccupied after life. With the

delivery of the offerings one may imagine the burial ceremony drew

to an-end and was completed by the sealing of the pithos mouth and the inhumation of the whole tomb. At Yortan slabs of stone, trimmed to regular shapes, are reported for enclosing the pithoi

mouths. Some other means such as a large pottery bowls or large

pieces of sherds may also have been used as "lids". Such vari-

ations are reported from Sardis-Ahlatli Tepecik54 and Karatq-

SemayUk,, 55 but Gaudin does not specify any at Yortan. Once the

cover was placed into'positionq the packing stones would be heaped

up against its a few more vessels could still be offered among the

stones, and finally the tomb would be buried-and levelled off. At

Karataq the pithos mouth was-marked by a "retaining" wall of field

stones (Plan`II ). This feature is absent at Yortan where also

52. J. Mellaart (1967) Cata1 Hüvük. A Neolithic Town in Anatolia. p. 2072 209.

53. C. Doumass 1977" St. M. A. 58: 58. 54. D. G. Mitten and G. Yü rüms 19742 Arch. 27: 26. 55. M. J. Mellinkp 19649 AJA 68: 271; T. S. Wheelers 1974; AJA

78: 417.

19

the stone lids do not seem to have been secured into place with

packing stones. The fact that whether at'Yortan or Karataf, these

graves could be found and opened ups or new ones sunk into the

ground without disturbing the existing ones, shows that some means

of markings above the ground were utilised to indicate the exact location of each burial. ' This is one aspect of the prehistoric

cemeteries which often proves impossible to clarify. Any evidence for such markers would normally lie directly'above the ground and thus would easily be swept away in the passage of time. At Babaköy

Bittel thought the stone lids stood higher than the top of the

pithos rim and therefore could have functioned as surface markers* 56

It is a plausible explanation but it fails to take into account certain details. Not all the covering stones were apparently shaped to stand above the pithoi and the ground level; it is difficult to imagine how, for example, the square slabs of Yortan would have functioned in this way, while other types of "lids" such as bowls

could not have served a purpose as such at all. Instead a completely different explanation is now provided by the Karate? finds

which may well be accepted as yet another widespread feature of the

west Anatolian burials. At this site most of the burials also lay

very close to the ground surface and were often damaged by natural agencies and human action. Much careful and patient work, however,

eventually bore its reward, and in Trench 98 the ancient ground surface was uncovered in good condition and with slight remains of circular structures. 57 The subsequent stratigraphic work showed that each such structure actually belonged to a pithos burial

(Plan II ). With such unique evidence at hand we may now imagine the cemetery at Karataq as a large, sprawling ground standing outside the immediate bounds of the settlement, and marked with

pockets of circular structures on slight stone foundations. Whether

the Karate? method of marking was used elsewhere remains to be

56. K. Bittely 19399 A. f 0.13: 49 5. 57. M. J. Mellinkg 1968x AJA 72: 255; 1969.9 AJA 73: 319 ff.

20

confirmed by future research. The'use of other methods outside

Anatolia is noteworthy. At Aghioi Anargyroi on Naxos, for example,

a cemetery of twenty two cist graves was surrounded by an enclosing

wall and each burial is thought to have been marked with flat

stones on the ground surface. 58 At Akrotiri on the other hand a

platform-like structure on the cap stone was found to function-in

this way. 59 At Yortan the necessity of surface markers was realised

in order to explain the orderly arrangement of the gravesq"but no

particular feature was identified as such.

58. C. Renfrew (1972) The Emergence of civilisation, p. 158. But this aspect of the cemetery seems to be in doubt, see T. S. Wheeler, op. cit., p. 423.

59. C. Doumas, -op. cit., p. 36s 87; C. Doumas (1977) Art and Culture of the Cyclades, ed. J. Thimme, p. 35.

21

CHAPTER 2 FINDS FROM YORTAN CEMETERY

a) Pottery

Large-pithoi and smaller jars serving as funerary urns, and

the much smaller vessels buried with the dead form the main type

of objects found at Yortan. The pithoi are naturally heavy,

coarse vessels and, with the exception of a few, they were appa-

rently not lifted for the museum collections. Today only one

example is known to exist and it belongs to the collection of the

Musses Royaux d'Art at d'Histoire in Brussels. 1 Several more are

said to be registered in the inventory of the Berlin museums 2

The Brussels pithos is a spacious container measuring ca. 1.75 m in height. The neck is short and-broad. The diameter measures largest, over 1.00 ms at the rim. The body is equally broad in

the upper half and narrows down to and in a pointed but blunt base.

There are four loop handles and four knobs on the shoulder, such

projections probably functioning as grips for manoeuvring the

"coffin" into the desired position. The fabric is coarse, reddish brown in colour, and tempered with gravel. Technically it is

highly competent work, shaped with considerable skill and fired to

a hard, sturdy structure. For the remaining one hundred and six burials we have to be content with Gaudin's words and drawings:

"Dans la seconds cite d'Hissarlik., Schliemann avait decouvert

des centaines de jarres mesurant de 1.5 a2 metres de hauteur.

Cellos de Porten ont des proportions un peu inferieures. La

longueur totale approche rarement de 2 metres, et is diametre ne

depasse 1 metre, a la panse, que dans peu de cas. On a pu noter., a titre de feit isole, uns paroi de 55 millimetres, et las plus

1. F. Mayence and V. Verhaagen, CVA no. 30 Belgique, Pl. 4p no. 16. 2. W. Orthmann, 1966, Ist. Mitt. 16: 24.

22

fortes epaisseurs sont d'environ 0.4 m. Le parement exterieur est

rugueux, at la quality de la poteris, oü l'argile est melee de

gravier, est an general mediocre. Le col est souvent tres large,

mais peu evase. Certains vases sont presque spheriques, mais lea

formes allongeees sont los plus frequentes. L'extremits oppose

au col nest parfois qu'une points mollement arrondie mais Is

plupart sont munis dune sorts d'arete circulaire qui pout jouer

Is role dune base. Sur 1'epaule se profilent diverses saillies, los unes an forme d'anse, lea autres, rondes at deprimees au centre,

qui sont pout-etre une grossiere imitation de certaines parties

du corps humain, comme los yeux at is nombril, "3

It seems that'Gaudin made scaled drawings of all the excavated tombs, together with their contents. Fig. 1-11-are

reproductions of some of these drawings. Out of the total of one hundred and seven tombs some eighty three could be found in these

illustrations. The whereabouts of the remaining twenty four are not known. Obviously the pithos shape had a slow evolution and was a deliberate creation to suit the purpose of accommodating the

contracted corpse of a human, together with the burial gifts. 4

The narrower, lower end would contain the decomposed remains of an older occupant of the tomb while the more spacious upper parts would be for the intact newcomer. The excavators of the Karataq- Semayük cemeteries could observe that such funerary pithoi were,

made exclusively for the burials and. not used for other purposes. 5

Only the smaller jars for infants. and children might have been

ordinary domestic utensils as well.

A classification of the Yortan pithoi into some five shapes

is based on the overall form of the body, and it must be admitted

3. M. Collignon, 1901, CRAI: 812. 4. See Chapter 1p p. 13 5. M. 3. Mellink, 1964, AN 68: 275. T. 0zgüg was able to make the

same remark for the Kusura, Alijar pithos burials. See Die Bestattungsbraeuche im Vorgeschichtliche Anatolien (1948), p. 25,9 313 32.

23

that the differences between the groups are often rather slight

and arbitrary. The first shape is quite easy to recognise, con-

sisting of smaller jars of globular or slightly elongated body

(Fig. 12 ). There is nothing particular about them to suggest

a special production for the graveyard. Shapes 22 32 4 and 5 are

all very similar and differ only slightly' in the proportions of the height and width of the body; shape 2 vessels, big and small,

are rather narrow and elongated (Fig. 12-14); shape 3 is broad at the shoulder or middle body (Fig. 14-17); shape 4 consists of

pithoi with a distinctly conical body (Fig. '17-19)., while shape 5

can be distinguished by the markedly sunken profile of the section between the broad upper body and the much narrower base (Fig. 19-21).

The last group, shape 6. differs from the rest in having a stump

rather than a blunt and rounded base (Fig. 22 ). According to

Gaudin the Brussels pithos is the largest found at Yortan, 6 and

indeed the illustrated examples are never over 1.50 m in height.

These three pithoi found at Babakoy (Pl. '1 ) are bigger, almost 2.00 m in height, but the overall shaping is identical to those of Yortan. The Karate? pithoi of broadly the same shapes also tend to be taller, varying between 1.20 m and 1.80 m and even sometimes

exceeding 2.00 m. 7

The ornamentation of these colossal jars was

apparently unimportant and limited to a few simple plastic features.

Pointed knobs on the shoulder of the body are found on nos. 110 52v

03.9 04 (Fig. 2v 6,8); on nos. 26., 57j. 58 there is a single line of

the robe pattern (Fig. 39 7 ); and the "medallion motif"j, as it is

known at Karata?, occurs on'nos. 15., 38., 45 (Fig. 2.9 4,5). The

smaller jars, nos. 32 and 36 (Fig. '4 which may have originally

been made for purposes other than funerary, are more elaborately

ornamented with handles, knobs and bands. Some of the Karate;

pithoi were also incised on the upper body or round the neck. 8

6. Stated so in the registration of the pithos in the Musees Royaux d'Art at d'Histoire (Cinquantenaire) Brussels.

7. M. J. Mellink, 1964, AJA 68: 273; 1967, AJA 71: 253. 3. L. Angel, 1976, AN 80: 388, Table 2.

8. M. 3. Mellink, 1964, AN 68: 274; 1969, AJA 73: 321.

24

This type of decoration'is not reported from Yortan but it may be

worth pointing out that these urns lying directly in the ground

were probably heavily encrusted with lime which would have con-

cealed much of the finer surface decoration. In fact, Professor

Mellink was able to note this type of ornamentation at Karatap

only after the cleaning of the pottery, and we do not have reason to believe that conservation and cleaning of the pithoi'and jars

were undertaken at Yortan in 1901.

Now, eighty years after their first discovery, it isp of

course, impossible to trace all the objects that were brought out of the burials. However, with over two'hundred and fifty vessels which could be studied, the Yortan pottery makes an impressive and

significant addition to the Early Bronze Age of western Anatolia. In terms of shapes and such technical details as the colour and texture of the fabric the pottery can now be divided into three

classes,, -A., B. C. which correspond roughly to the E81, EB2 and E83

periods. Unfortunately this classification cannot be backed by

sound stratigraphic observations at the site, 9

and therefore

divisions between various groups must remain tentative. Between

A and Bp and 8 and C. there need not be rigid dividing lines, but

the pottery of A and C is truly different in every respect, leaving

little doubt as to the existence of a considerable chronological

and cultural difference between them.

Within Class A pottery, which is by far the most numerous

group containing two hundred and twenty four vessels out of a total

of two hundred and sixty three, three main types - bowls, jars,

jugs - and several more unusual forms, such as the triple vase, can

be distinguished. It is an exclusively handmade pottery without

the use of the potter's fast wheel. There is hardly any variation

in the fabric so that the shape rather than the ware or ornamentation

has been used to divide it into some'fifteen groups. The surface

9. See Chapter 1. p. 8

25

decoration was used as the-basis for such a classification for the

Louvre collection by E. Pottier, 10 but the method is-considered

unproductive and largely irrelevant here for the elucidation of the

problems surrounding the Yortan pottery and culture. The fabric

is always very high in. mineral content with a lot of mica and

quartz which on the surface appear as tiny, small, or large, shiny

particles. Often the surface of-the pots is pitted due to pieces having fallen out. On most of the larger vessels it is not a fine fabric, but very coarse examples are also rare. A more refined

clay and temper, still with the same mineral content, was often used for the smaller vesselh such as the juglets, Shape VI, or small jars., Shape II. No straw temper was detected in any of the

pieces examined. The petrological analysis of a fragment of a jar,

Shape III, gave the following results which can be taken as stan- dard for most of the Class A jars and jugs:

"The matrix is birefringent in shades of orange and yellow,

and contains sherds of muscovite and biotite mica. Other inclusions

are:

Horneblende 0.1/0.2-0.5 mm; occasional- Quartz 0.1/0.3 mm on average. Some grains are

less than 0.1 mm and subrounded;

scattered

Plagioclase feldspar 0.3/0.4 mm., subangular; occasional Pumice/volcanic glass 0.1/-0.5 mm; scattered Haematite 0.1 mm and less; scattered"

11

10, E. Pottier, CVA Louvre 4. France, no. 5: 3. 11. I am greatly indebted to Miss L. Johns of the Institute of

Archaeology, London, for this and other analyses of the pottery quoted in this research. I would also like to take the oppor- tunity to express my gratitude to Professor O-L. Huot who allowed me to take samples from the small collections of l'Institut d'Archeologie Orientale, Paris.

26

The firing temperature is about 800°C and sometimes the pots

easily crack, crumble, or flake off in layers. One exception to

this rule is provided by the jugs of Shape XI-XII where almost all

of the vessels are fired hard and do not crumble to pieces. These

deficiencies in the technique of the Yortan craftsmen did not, however, prevent the production of a highly attractive and indivi-

dual pottery, far superior to that found at Troy/Hisarlik or Thermi. This achievement was largely due to the competence in the

shaping of the vessels, to the pleasing and rounded contours, and also to the care taken in the surface finish. It is never left

coarse but smoothed, or more often slipped and burnished to a shining reflection.

12 Since all this pottery was handmade there is individuality in every piece, without a feeling of mass production. The shapes and their general outlook are vivid, unaffected by dull, metallic elements which in later periods come to dominate the pottery everywhere. Black and grey colours are clearly in the

majority. Those vessels which are in two-thirds . , 'red, brown,

or orange red colours, form a separate and parallel group of shapes but-are far fewer in number. Jug no. 25, Fig. 44 2 of Shape VIII

is a good example reflecting many characteristics of the "A" class

pottery; it has a coarse fabric but in its soft, rounded outline,

and slipped and burnished surface it makes an attractive object. Also the uniform red orange colour and the distinct chevron motif in matt white show success in the process of firing. In every detail of the shape, fabric and surface finish these red ware

vessels are in fact no different from the black or grey ones. The

following analysis was carried out on a fragment of the no. 25 jug,

Shape VIII. The results obtained are quite similar to those of

the above mentioned black jar, Shape III:

12. Without thin sections of every piece it is often difficult to see whether a pot was slipped or burnished' or merely self- slipped which is a process of smoothing that brings up the finer particles of the fabric.

27

"Red/brown fabric. ýBirefringent from orange to yellow..

Horneblende 0.2 mm; infrequent

Quartz 0.1-0.5 mm; ýangular, subangular and

subrounded; frequent

Polycrystalline quartz 0.2 mm; infrequent

Feldspar 0.5-0.1 mm; subrounded; occasional Pumice/volcanic glass 0.5-0.1 mm with a mean size of 0.3 mm;

frequent

Haematite 0.5-0.1 mm; scattered"

Among the small jugs, Shape IX, no. 16 (Fig. 47 ) is very striking in its uniform lustrous brown colour. The black-jug no. 6 (Fig. 47 )

of-the same shape. is similarly a fine piece. One of the smaller jugs of Shape IV, no. 3 (Fig. 320 P1. VI ) is. fired dark grey in

the upper section and light brown in the lower parts of the body.

Such a distinct-partitioning of a pot into two colour zones could be considered intentional, iee a-well-known feature of Early

Cypriots pottery. However, at Yortan such vessels are rare and

were probably accidental products. The predominance of the black

and grey wares in'Yortan "A" class pottery seems to be a wide

spread aspect of the north-west Anatolian culture in the EB1, and EB2 periods. Further south there is a clear increase in the pre- ference for lighter colours in shades"of.: red and brown. At Karataq-

SemayUk, for example, sturdy jugs in burnished red brown and sometimes decorated with matt white linear patterns are a characteristic of the pottery of the Elmali plain.

13 Among the Yortan "A"

class pottery there is no apparent-chronological significance in

the occurrence of the red or red brown ware.

The ornamentation on the burnished or less often smoothed

surface is either in white filled incision or in the so-called

13, M. J. Mellink', 1964,9 AJA 68: 276.

28

matt white painting. Less common are the jugs with moulded relief

features only. The origins and distribution of the two former

methods of decoration is a rather complex phenomenon. In western

Anatolia it goes back-to the beginnings of the Late Chalcolithic

period of Beycesultan. 14 Beyond, in the Aegean, it is found in

the Middle Neolithic and Late Neolithic of the East Islands*15

of the Cyclades (Saliagos) 16 and of Greece, 17

with even earlier

appearance in the Neolithic of South East Europe. 18 Its distri-

bution in Anatolia is equally wide, extending from Mersin Level

XIIa to lkiz Tape in the plain of Bafra. 19 Yet without the

stratigraphic soundings penetrating into the earliest of the

Chalcolithic period it remains impossible to determine whether the

origins of this pottery style at Yortan"and elsewhere in western Anatolia were independent or derived from the East or West. It

would, however, be incorrect to assume a "floruit of the style"

preceding the=Troy I period (EB2). 20 The opinion has been based

on the poor representation of the pottery at Troy/Hisarlsk. Else-

where in this study it has been suggested that the pottery of Troy/

Hisarlik and Kumtepe occupy's precarious position-in the Early

Bronze Age of the North West, not necessarily representing the

complete pottery repertoire of the area. 21 Thus, while there may

be only a few white painted sherds in Troy'I and III in the contem-

porary Yortan pottery it-is in full blossom, and, a "floruit" of -

this type of ornamentation may well be in the EB1 and EB2 periods,

14, S. Lloyd and 3. Mellaart (1962) Beycesultan It p. 81. ' 15. J. Mellaart., 1954, AS 4: 204;

_A, Furness, 1956,9 PPS 22:

174 ff. 16. A. Furness, op. cit.; 3. D. Evans and C. Renfrew (1968)

Excavations at Saliagosp p. 81 ff; J. E. Coleman, 1974, AJA 78: 334.

17. Ibid. 18.

_J. Deshayes, 1972, Arch. 25, no. 3: 201; 3. Yakar, 1975,

Tel Aviv 2: 142. 19,0. Mellaartp 1954, AS 4: 205 ff; 3. Yakar, 1975, Tel Aviv 2:

138 ff. 20, A. Furness, 1956, PPS 22: 205; J. Yakar, 1979, AS 29: 54. 21. See Chapter 3., p. 98-99

29

at least in north-west Anatolia.

At Yortan this type of decoration is always preferred for jars

and jugs., and there is little variation in the motifs used. Every

vessel has three or four chevrons applied onto the body only in

groups of two, three, four or five lines, and only a few jugs have

additional patterns. One jug with cutaway spout, no. 29 (Fig. 61 )

has double running lozenges, one on either side of the angular handle. Another, no. -14 (Fig. 47 ) of Shape IX has cross-hatched lozenges in between the chevrons.

The white-substance or paint is usually applied very thickly

so much so that at the apex of the chevron motif the overlapping lines stand out in relief. When hydrochloric acid was dropped on the white lines only, it gave a reaction in bubbles, indicating22

that_it is lime, probably limestone powdered and mixed with water. One is struck by the fact-that on almost every pot these white lines are considerably faded or washed out and they do not really

conform to a contrasting pattern upon the darker surface. Presum-

ably this was not the condition of the pottery at the'time. of its

production. One suspects that the white substance which would have been mixed with water and applied on the-already burnished

surface wore out over the millenia under such environmental factors

as the fluctuating ground water-table and the soil conditions. One exceptionally well preserved vessel is the incomplete jug no. 18 (Fig. 42 ) where somehow the chevrons have survived in a bright

white colour contrasting well with the burnished black background.

In some cases the mottled surface proves to be unsuitable for this

type of decoration; where, for example, light grey rather than

black colours are present the white lines do not'stand out at all

22, The same test was carried out'on the'Mersin white painted

- pottery. See J. Garstang (1953) Prehistoric Mersin. p. 183. "... a white pigment gives the bubble reaction of lime to a drop of hydrochloric acid. "

30

clearly(P1. IX, no. 13). Sometimes the pattern itself is in vague tones,,

varying between dirty white and light grey, which again tends to be

absorbed by a similar coloured background.

It seems that white painted pottery gradually went out of

favour towards the end of the EB2 period; at least, this is what

one finds at Troy/Hisarlik where it is no longer evident in Troy

III, and at Beycesultan where it disappears at the end of the EB2

levels. It must, however, be pointed-out-that-this pottery was

apparently not popular at either site at all times, and there is"

always the possibility of a longer sequence at Yortan and elsewhere. Class C pottery which. has been identified as EB3 in date does not have this type of jug or jar,, thus confirming its disappearance in

the North West after the EB2 period. Such unprovenanced jugs as

no. 32, (Fig. 94; Pl. XVIII)or no. 46 in Schiek and Fischer23 may be

dated on account of their shape-tot the end of E62, and the former

jug is decorated with white filled incisions suggesting that already

before the beginning of EB3 the somewhat frail painted ornamentation

was going out of favour in the Yortan Culture as well. On the other

hand the latter jug is still decorated with white chevrons, and in

fact white painted shards were found, at Polatli in late Phase I and

early Phase II which corresponds to Troy III-IV, 24

In Class A pottery incision is only used on small vessels, Shape III IVY Shape VI, and the small bird shaped jugs (Fig. 73 ).

The limited space on the surface was naturally unsuitable ground for painting. Small lids, Shape V9 which belong to the jars are

similarly decorated. A few incised exceptions among the larger

vessels are no. 6 (Fig. 29), a jar with a unique basket handle,

and an unusual jug, no. 6 (Fig. 76), 25 -This obvious restriction

in the shapes of the incised pots may have, however, been a local

23. S. Schick and F. Fischer, 1965, FS 17: Taf. 27.

'24. S. Lloyd and N. Gökge, 1951, AS 1: 46s 56. 25. See Chapter 3. p. S3 , 97

31

phenomenon, peculiar to Yortan and not a general feature of the

Yortan Culture. Thus, bowls no. 1,4 (Fig. 89 ) from the

Balikesir plain are identical in shape to the plain bowls of

Yortan, but some are incised or grooved on the carinated rim;

or the large jar., no. 37 (P1. XVII), though similar to Shape II

jars on tripod feet, is more like Shape III examples and yet it

is incised and not painted.

On the whole, the incision is very competent and executed before firing with a thin point in deep, steady lines. The motifs

are all linear, in various combinations of parallel or curvilinear lines, short strokes, dots, or wedge-shaped punctures. A white

paste was filled into the incised pattern to make it stand out over the burnished surface.

26 Among the juglets, Shape VI, no. 12 (Fig. 35 ) (Pl. XX ) is a perfect little vessel with the simple

white filled pattern showing clearly over a lustrous red brown

surface. Sometimes, however, defects in the firing process would

cause mottling and failure to create a striking contrast between

the pot surface and the incised pattern.

A third type of ornamentation found on Class "A" pottery con-

sists of simple plastic features in the form of knobs, prominent

or small and wart-like; crescents, parallel bars, or chevrons.

The most commonly used are the knobs, always placed on the upper

part of the body or, on the cut-away spouted jugs, on either side

of the neck. The crescents are often shallow in relief. Some are

quite small, no. 1 (Fig. 48 ), others large and sweeping, no. 14

(Fig. 54 ). One large jug, no. 8 (Fig. 51 ) has the more unusual

crescents, each divided in the middle by a perpendicular line.

Parallel bars are found in groups of two, three or four, no. 32

(Fig. 63), no. 28 (Fig. 61 ), no. 2 (Fig. 74). More interesting

26. Mr. J. Melleart informs me that some of the Balikesir incised patterns are actually filled in with yellow or red paste which is presumably red or yellow ochre.

32

are the small pendant like features stuck onto the base of the neck

at the front of the pot. This occurs only on jugs of Shape IX-X,

and XII. On jug no. 3 (Fig., 67 )-it is particularly vivid, resembling a pair of beads or, jewellery worn round the neck. At the

back, -below the handle, even the knot of the string from which the

"beads" would have been suspended is shown. A similar amusing

detail can be observed on jug no. 8 (Fig. 51'); here the "necklace"

worn is in the form of a string of knobs all attached to"the neck base with short strokes. Further up the neck, on either side and below the rim, are the usual knobs but here shaped in greater detail

recalling "earrings".

Vertical flutings as a mode of decoration covering the-whole-

or most of the body are rare at Yortan, occurring on three jugs

only. Jug no. 2(Fig. 45 ) is one of them and is really a small

version of the tall, handsome jug no. 38 (Pl. XIX) of unknown pro-

venance. Jug no. 3 (Fig. 75 ) (Pi. XIII) has rather prominent flutings. It is a heavy vessel and unique among"the Yortan shapes in its horizontal and broad form of beak-spout. The third vessel is the large bird vase no. 4 (Fig. 72 ). On two other jugs of-the latter shape, plastic lines are used sparingly to indicate "wings"

in a stylised fashion.

The second class of. Yortan pottery, "B"., contains a number of

vessels which on the basis of parallels with the pottery of Troy/

Hisarlik are identified as late E82 in date. The "teapot" or deep

bowl with a basket handle and side spout (Fig. 79) is a particularly

distinctive shape, unknown in the EBI of western Anatolia. Basic-

ally the most outstanding differences between this and the "A"

class are in the nature of the fabric and surface treatment. It

is a fine fabric and always fired hard. Light colour slip is

thinly applied and no longer highly burnished. Mottling occurs

but far less than in Class A. Such technical as well as stylistic

differences are considered sufficiently strong here to keep these

pots separate from the earlier group. However, without a strati-

graphic recording such division must naturally be kept flexible.

33

It is highly probable that some of the "A" class shapes continue to the end of the EB2 period. The carinated bowl with a loop

handle could be one such shape; or on typological grounds there

are the jugs of Shape X with a shallow and broad form of the cut-

away spout (Fig. 589 59) which is not too dissimilar to the tall

beak spout of the EB3 period. ' Those jars of Shape III with

sharper outlines, or jugs of Shape XI and XII could also be con-

sidered-later than the EB1 or early EB2. On similar lines a number

of vessels from the Balikesir plain may tentatively be dated to

this latter phase of the EB2 of Yortan. Jug no. 32(pl. XVIII )

has already been mentioned; it is a handmade, perfect product with

symmetry all round, and in every possible detail a superior and more developed pottery than Class A of Yortan. Secondly there are the small jars, no. 10-14 (Fig. 90 ) which on account of their tall

flaring pedestals and richly incised decoration could also be

regarded as typologically later examples of Shape IV. Yortan jars.

Class C pottery represents the EB3 period of the site and '

corresponds to the pottery of Troy III-IV and Beycesultan XII-X. Again as for the previous class, the number of vessels that can be assigned, with some confidence, to this category is rather small; but the break-with the Class A type is clear and absolute with no question of continuity. Almost all of these jars and jugs are made of a very fine fabric, still with a rich micaceous content. The

petrological analysis of a piece from jug no. 11 (Fig. 81 ) (Pl. XXI)

shows that a different deposit of clay might have been used at this time:

"Red fabric. The matrix is birefringent from orange to red

and is very micaceous. The mica appears to be muscavite.

Quartz 0.1-0.3 mm subangular; scattered

Polycrystalline quartz 0.4 mm; occasional Muscovite 0.2 mm; scattered

Biotite 0.2 mm; scattered

34

The walls are usually very thin, hard fired, and invariably

in light colours of red and grey. Due to the fine fabric the sur-

face is naturally very smooth. Often it is coated with a thin

slip, or wash, but never burnished to the extent of the "A" class

pots.. Except for the occasional grooved line there is no other

ornamentation. The potter's fast wheel is now in use with the

result of a greater degree of symmetry in the shaping. No. 9

(Fig. 80; Pl. XIV) is a very fine piece, made of an extremely fine

fabric and thin walls. Its proportions are faultless. This jug

and the lentoid flask, no. 14 (Fig. 82; Pl. XV ), do have a cut-

away type spout but one which is quite different from the earlier

examples; the neck is rather tall and cylindrical, and the part

of the spout cut away is quite small without giving it a beak-like

appearance. In the absence of a larger group of material it is, of

course, not possible to draw the general characteristic of the

Yortan pottery during this period. The available twenty pieces are

barely sufficient to allocate the site to this period, and we can

only speculate that the E63 pottery of Yortan was not very different

from that of the rest of western Anatolia. -

b) Idols and Figurines

Only three idols were found at Yortan. 27

Two illustrated

examples, Pl. XVI, , are in white marble, highly schematised,

and of types widely known in the Aegean. The larger no. 1 is in

the "fiddle" shape with a long., stalk-like projection representing

the neck and head. The lower part., or the body, is featureless,

and only the shoulders or arms are indicated as small protrusions.

Some thirteen similar idols were found at Beycesultan in the shrine

complex of Level XVIIb. 28

Two rather crude pieces from Thermi I

27. M. Collignons 19019 CRAI: P1.1. 28. S. Lloyd and J. Mellaart (1962) Beycesultan I. P. 2669 269.

35

and II., 29 and two broken pieces from Troy I and II30may all be

considered as basically belonging to this shape. The second

Yortan idol is even more schematised and was made of a piece of flat marble with the two ends rounded and the middle part notched

on either side to indicate the waistline or neck. At Beycesultan

one broken piece in Level XVI could be of this types 31 otherwise

it is not found on this site. Plenty of examples are known at Troy/Hisarlik in all periods. The Karatal-Semayük burials here

also yielded identical idols, 32 though here and probably in the

Burdur - Isparta region at large a different type, the "Kusura"

idol with a stalk neck and disc head was more popular. 33 So far

this variety has not been found in the North West in large

numbers. 34

Outside Anatolia both of the Yortan idols find fairly close

parallels in the Aegean, particularly in the Cyclades. 35 The

earliest occurrence of the fiddle type is at Saliagos which dates

to the beginning of the Beycesultan Late Chalcolithic. 36 The

second Yortan idol which is actually incised on one side could have its beginnings in the simple flat pebbles of Poliochni. 37.

..

Such a wide distribution of these objects is in sharp contrast

29, W. Lamb (1936) Excavations at Thermi, Lesbos, Pl. XXII, no. 35-65, no. 35-54.

30. C. W. Biegen (1950) Troy I. p. 216, no. 35-65; Fig. 360, no. 35-287.

31. S. Lloyd and 3. Mellaart, op* cit., Fig. F. 10 no. 18. 32. M. 3. Mellink, 1967, AJA 71: Pl. 770 Fig. 149 15; 1964, AJA

18: Pl. 82p Fig. 240 25. 33. Ibid. 34. H. Th. Bossert, Altanatolien. Pl. 21, no. 133. One idol is

said to be from the Manisa area. A second is reported from Dorak (personal communication from J. Mellaart).

35.0. HSckmann (1977) Art and Culture of the Cyclades, ed. 0. Thimme, P. 221,222,228.

36. J. D. Evans and, C. Renfrew (1968) Excavations at Saliaoosv p. 860 87.

37.0. Höckmann, op. Cit., p. 174.

36

to the existence of quite different burial customs and pottery

assemblages between Anatolia and the islands. Therefore only

within western Anatolia does it seem reasonable to postulate, on

grounds of similar idols, identical burial customs, and some pottery shapes, ie* multiple vessels, duck vase., a certain degree of

uniformity in religious or cultic beliefs. If soy then the shrine

complexes of Beycesultan Level XVII-XIII need not be a unique

occurrence but a part of a broadly similar temple architecture of western Anatolia in the Early Bronze Age. 38

No terracotta figurine is reported from Yortan. One broken human figure with incised decoration was found at Babaköy

and its absence from Yortan could be accidental. At Thermi such terracottas are said to appear not before Town III when the marble idols cease to exist.

39 But any chronological significance that

one may see in this sequence can be dismissed on the facts of the

Troy stratigraphy where the marble idols continue to be made in

Troy III and later periods.

A completely different sort of object, which is found in the tombs of the Balikesir plain but not at Yortan, is an intriguing

small terracotta in the shape of a small powder flask. Two frag-

ments were found at Babaköy (Fig. 87, no; 11). Several more are. known to come from the robbed cemeteries of the area .

40 One such object

(Fig. 88 ) carried a relief motif which could well represent the sign for "life" in Egyptian hieroglyphics. A second occurrence

of the sign is on a jug of the same provenance* 41

On the assumption that the object in question carries a cultic significance, the

38. The identification of these complexes as "shrines" has been rejected by M. 3. Mellink. M. 3. Mellink, 1964, AAA 68: 304. Review of Lloyd and Mellaart Beycesultan I.

39. W. Lamb (1936) Excavations at Thermi. Lesbos, p. 149,177. 40. W. Orthmann, 1966, Ist. Mitt. 16: 22, Abb. 9, no.. 79-81.

41.3. Mellaart (1966) Chalcolithic and Early Bronze Ape in the

Near East and Anatolia, Fig. 39, no. 10.

37

opinions vary between a symbolic horn of the bull, 42 and a symbolic

phallus of the fertility cult. 43

Its absence is noticeable in the

Beycesultan shrines. On the latter opinion Bossert once made a

remarkable attempt at identification, suggesting it could not rep-

resent the phallus of the bull but belonged to another animal

species. 44

c) Spindle Whorls

All thirty-six spindle whorls belong to the British Museum

Collection. Several are illustrated in the burials, nos. B. 11p

360 470 59 and 80 (Fig. 10 2. t 4,9 5ý 9). The shapes vary between

biconical and truncated biconical. The last six are larger and

cylindrical (Fig. 86 ). On nos. 1-30 the vertical piercing in

the centre has rounded edges on the top and base, or in some

cases a sunken central part on the top'(Fig. 840 85)..

Nos. 24 and 25 (Fig. 85 ) were for some reason cut horizontally

into two halves. The ornamentation over a very fine and hard fired

fabric is only in incision and usually limited to the upper section

of the biconical shape. As on the incised pottery, white filling

was used to bring out the delicate motifs over the smoothed or burnished surface in dark grey, red or brown/yellow colours. The

larger nos. 35 and 36 are stamped with wedge-shaped strokes and a

small stamp seal respectively (Fig. 86).

Spindle whorls are a familiar type of object in the Early

Bronze Age of Anatolia but are rather rare and crudely made in the

Aegean. The Yortan examples do not differ considerably from those

of other sites in western or central Anatolia. On the whole,, the

42. W. Orthmann, op, cit. 43. H. Th. Bossert, 1960, Or. 29: 317 ff; S. Schiek and F. Fischer,

1965., PS 17: 1599 166., Taf. 249 no. 32. 44. Ibid.

38

Beycesultan whorls tend to be more richly ornamented both on the

upper and lower parts of the biconical shape. 45 Also the truncated

version is said to appear after the EB2 period. Similarly the

differences both in shape and decoration between the Yortan and Thermi examples are rather slight, ie. Yortan nos. 11-15 (Fig. 84 )

(Troy Type 23) are absent in Town I-III where most of the Thermi

whorls are found. 46 Troy I-IV whorls come nearest to those of Yortan. 47 Thousands of them were found by Schliemann. 48 Blegen

records 429 pieces in Troy I-III. Despite their large numbers, these objects belonging to the common house utensils do not show

enough stylistic variations to be useful in the dating of unstrati-

fied finds. Thus, at Troy the incised whorls really start in lid

on Type 23 (Yortan nos. 11-15) but this is no guarantee for dating

the Yortan examples to this period; some fine decorated whorls

are found in Troy I while at Beycesultan they are actually in the

majority already, in Level XVII., and at Thermi in Town I-III which

on the pottery analysis are contemporary with the Troy I-II period. Also Type 23 continues to be found beyond Troy III levels. The

truncated shape of Yortan nos. 1-6 (Troy Type 21) is not found in

Troy I which again may or may not be chronologically significant.

45, S. Lloyd and 3. Mellaart, op. cit., p. 274,277,278. 46. W. Lamb (1936) Excavations at Thermi. Lesbos, p. 162, Fig. 47. 47. C. W. Biegen (1950) Troy I. p. 290 500 216-218; Troy II.

p. 216,218; Troy III. p. 14.9 116. 48. H. Schliemann (1880) Ilios. p. 229 ffs p. 416 ff.

39

d) Metal Objects49

Objects of copper or bronze are disappointingly scarce, and those made of such precious metals as gold are even rarer. - Even

if one were to take into account the possibility of the excavators

overlooking some of the less well preserved pieces, it is still

clear that the Yortan people did not possess metal tools and

weapons in such abundance as to bury them with their dead. Today

the whereabouts of these objects is a mystery and the golden pieces have not been seen since 1901.50 Fortunately Bittel was able to

study the bronze pieces in 1936 and his conclusions are still

valid. 51

Four of the pins are well-known types in Thermi I-IV-

and_Troy_I-II_settlements. __The

fifth pin with a bell-shaped

head has a longer history lasting into the second Millennium BC. The knife with a curving blade also has parallels in Troy II, but

the shaft hole axe and the spear-head with a mid-rib are later types of the E83 period. The spiral bracelets are simple and com-

mon objects found in all periods. Unfortunately, Gaudin's illustrations of the burials do not show any of these objects. One

wonders whether the axe,, spear-head and the pin with bell-shaped head were found with Class B or C

. rather than Class A pottery.

It is hard to believe that by the EBI and EB2 periods metal

objects were-still scarce in these parts of western Anatolia. A

more plausible explanation may therefore be that the Yortan burials,

especially those of Class A pottery, do not belong to a particularly

49. In U. Esin's work Kuantitif Analiz Yardimiyle Anatolu'da Baslannicindan Asur Kolonileri vagina Kadar Bakir ve Tuns Madencilidi (1967), some eight metal objects are listed is

"Yortan" in the Istanbul Archaeological Museums (Ana. no. 11795-11802). This is a misleading terminology. None of these

eight pieces are known to come from Yortan but are registered as finds from the Balikesir area. I am most grateful to Miss B. Aksoy for supplying me with this information.

50. See M. Collignon, 1901, CRAI: 814 51. K. Bittel, 1939, A. f 0.13: 16 ff; D. Stronach, 1957, AS 7:

69 ff.

40

prosperous community where metal weapons'and tools would have nor-

mally been passed on from one generation to another rather than

disposed of as burial gifts. In fact, the richer tombs of the

Balikesir plain are known to have yielded greater numbers of metal 52

weapons.

52. K. Bittel, 1955, Ist. Mitteil. 6: 113 ff; S. Schiek and F. Fischer, 1965, FS 17: 157 ff; D. Stronach, op. cit.

41

CHAPTER 3A COMPARATIVE STUDY OF THE YORTAN POTTERY

In the absence of any stratigraphy at Yortan the only way to

identify and date the finds is by a typological and comparative

study. The former method has been used here with considerable

reserve and only secondary to the latter method. It is thought

that a disciplined analysis of the parallels with the well-known

sequences of the west Anatolian sites is a more reliable method of

research than a purely typological study. The stratified sites in

question are Troy/Hisarlik on the Troad coast, Thermi in Lesbos,

and Beycesultan near civril in the Vilayet of Denizli. The more

distant Poliochni, Karatap-Semayü'k and Aphrodisias provide supple-

mentary material. It is not for the first time that the Yortan

pottery has been the subject of such a study. It is, however, only

now that more than 90% of the finds are available as one body of

material showing all that there is to be seen from the site. The

fact that the mentioned sites are not located in the immediate

vicinity of Yortan and could actually represent quite different

cultural zoness may cause doubts as to the validity of the parallels

and the conclusions drawn from them. For example. -according to the

EB2 sequence of Troy/Hisarlik and Beycesultan, the technique of

decorating burnished pottery with matt white painting goes out of

use towards the end of the period, and at no time was this ornamen-

tation popular on these sites. But at Yortan, and probably else-

where in the Yortan Culture, it was commonly used throughout the

period with a possible extension into the next period. The pro-

posed three-fold division of the pottery iss therefore, tentative

and the lines between the classes, especially that between Class

A and B. and B and C. ought to be kept flexible allowing for a

certain amount of continuity and survival. Many of the parallels

sited are very close and often identical, and it is hard to believe

that the conclusions drawn will be proved drastically wrong by

future work.

The laborious task of giving each parallel individually and in

- 42

full detail may be justified by emphasising the importance of the

study; it is upon this comparative study that the whole under-

standing of Yortan is based, and it is here that some differences

of opinion may well be raised. Clarity in the use of the relevant

material will, it is hoped, at least serve to prevent controversy

and present the facts in full light.

CLASS A POTTERY

SHAPE I Bowls (Fig. 23p 24; Pl. III)

Together with the Berlin Collection eighteen bowls are known

to have come out of the pithos burials. Berlin Nr. Vas. 4463 is

known to exist but could not be illustrated. 1 Except for Bar. no. 64., 65 (Fig. 24 ) all the Yortan bowls belong to the carinated type

and are hand-made. Irrespective of their relatively rare occurrence

among the jars and jugs, they form a very useful group of material for comparison with the settlement sites. Some more bowls with

similar features are known from the robbed cemeteries of the North-

west; but clearly bowls were still used far less frequently as burial gifts than jars and jugs, possibly to be explained by the

nature of the funerary customs. 2

1. W. Lamb (1936) Excavations at Thermi. Lesbos, p. 86; W. Orthmannj, 1966, Ist, mitt. 16: 18s no. 65.

2. See Chapter 1s p. 17

43

Bowl no. 1.20 32 4 (Fig. 23)

These small bowls show the characteristic profile of a carinated

shoulder, incurved rim with a round lip, and a rounded base. The

shape is well-known in the E81 and EB2 of western Anatolia. Its

ancestry goes back to the Kumtepe Is3 and Ib 1.9 24 phases where besides the rolled rims, there are bowls with slightly incurving

rims. There can be little doubt that the sharp angular profile of the EB2 is a development from the rolled rim, best illustrated in

Kumtepe Ib 2 and Ib 3. The true inverted rim and angular shoulder

as seen on the Yortan bowls, is first found in the Ib 4 phase. 6

Bowl no. I is a plain vessel without any ornamentation or lug.

Bowl no. 2 has an incised cross on its rounded base, and the cari-

nated shoulder is pierced vertically in two places forming a pair

of string holes. This particular detail is not known from Troy/

Hisarlik or Thermi bowls but some identical examples are found on

a number of sites in the regions of Balikesir., Akhisar and Manisa.?

Bowl no. 3 has a lug handle set on the carination. Bowl no. 4 has

the more distinctive tubular lug in a pair and below the carination.

Two such lugs are illustrated from Troy Ib and Ic but both shards belong to a different shape of bowls, A. 25 and A. 24 respectively.

8

Similarly, this feature occurs in Poliochni Blue but on jars rather than bowls. 9

3. J. Sperling, 1976, Kumtepe in the Troad, Hesp. 45p no. 4: Fig. 9., no. 211,212.

4. J. Sperling, opo cit., Fig. 12, no. 303,304; Fig. 13p no. 407-8. 5.3. Sperling, op. cit., Fig. 13, no. 406-408; `Fig. 14, no. 501-506;

Fig. 15, no. 535-546. See also: J. Mellaart (1962) op. cit., p. 107. 6.3. Sperling, op* cit., Fig. 19., no. 611-61?. 7. See Chapter S. p. 123-1.4 8. C. W. Blepen (1950) Troy I Fig. 237, no. 31; Fig. 266, no. 7. 9. L. Bernabo-Brea (1964) Poliochni I. 2. Tav. LX-LXI.

44

Bowl no. 5.. 6 (Fig. 23)

Both are set on flaring pedestal bases with slightly oval openings. The former bowl has a horizontally pierced tubular lug which together with the pedestal base forms a good diagnostic feature for

some close parallels with Troy, Thermi and Beycesultan:

Troy/Hisarlik

Shape A. 13 of Troy I is an identical vessel. It is worth point-

ing out that when only a fragment of a vessel is at hand, it is

often not possible to determine whether the shard belongs to a bowl

with or without a lug, or with a base. Some of the sherds classi-

fied as Shape A. 12 may, therefore, be of this bowl, as well. The

following examples of the pedestal base are satisfactory parallels

to the Yortan bowl no. 5:

Fig. 224 no. 36.840 Troy Ib

Fig. 236 no. 29,32p 34 Troy Ib

Fig. 239 no. 23,24 Troy Ic

Fig. 262 no. 27 Troy Ic

Such bases are first noted in Troy The However, this could be a

mere coincidence and the shape could start from earlier levels. A

shorter pedestal base, without the openings, is first noted in

Kumtepe Ia 210 and later in Ib 2.11 In fact, the cylindrical

tubular lug of the Yortan bowl does appear already in Troy Is.

Examples:

Fig. 235 no. 2 Troy Is with three transverse incised

lines

Fig. 239 no. 3 Troy Ic (also no. 12 5, ?p 12)

10. J. Sperling., op. *cit. 0 Fig. 11, no. 230. 11. J. Sperling, op. cit. 2 Fig. 13, no. 413.

45



On the Yortan bowl the lug has five transverse grooves, similar to

the incised lines of the first examples from Troy Is where sometimes

this ornamentation takes the form of neat flutings. -ie. Fig. 261,

no. 10. Towards the end of Troy I the lug changes shape, taking. the

characteristic "ends`pinched up" form - is. Fig. 261, no. 17,18;

Fig. 244, no. 2-7.

Kumtepe once more gives an earlier appearance of the tubular

lug, in the Ib phase where the form is slightly concave but becomes

more straight in the Ic phase. 12 The contemporary Poliochni Black

and Blue also have similar lugs. 13

Theriai

No. 96., Pl. XXXV, from Town I or II makes a good parallel. The

upper part is largely missing so that the shape of the lug or handle

is not known; but the rest of the bowl on a pedestal base is not

different from Yortan or Troy/Hisarlik bowls. A second bowl, no. 6.

Pl. XXXV, from Town I is similar, though the base is rather short

without the "window� openings,, and the lug is not tubular.

Beycesultan

Pedestal bowls with the "window" openings are found in the EB2

period and are classified as Shape I. without the tubular lugs

Fig. P. 22 no. 10,13$ 15 Level XVIC

12, J. Sperlingj op. cit., p. 330. 13. L. Bernabo-Brea. 9 op. cit.. Tav. VIla; Tav. XXIV; Tav. XXV.

46

Beycesultan bowls tend to be decorated with matt white painting

on the carinated shoulder, a feature which is not seen on the Yortan

bowls but is known to occur at other sites of the Yortan Culture, 14

The absence of the tubular lug on the Beycesultan bowls could be

explained as due to the incomplete form of the vessels, especially when such lugs do occur on other forms of the carinated bowl. As

a regional and local characteristic these lugs are often ornamented

elaborately with ribbings and flutings:

Fig. P. 23 no. 3.70 9s 22 Level XVI

Bowl no. 6 (Fig. 23)

It differs from the previous bowl only in the position of the

carinated shoulder which is set rather high ups so much so that the

rim appears to be thickened. It resembles the incurving rolled rims

of Kumtepe Ib, 15 and the flat topped rims of Ic phase.

16 Other

diagnostic features are the pair of small knobs on the rim, and the

vertical piercing of both the knobs and the rim. Judging by the

finds of the Balikesir tombs, this type of knob was common on the

bowls of the Yortan Culture but is lacking at Troy/Hisarlik, Thermi,

or Beycesultan. Shape A. 6 of Troy I is the nearest to it, Fig. 234,

Fig. 253, and possibly these protrusions represent an earlier or

cruder version of the prominent horn lugs of the E82 Beycesultan.

Bowl no. 7 (Fig. 23)

This bowl differs from the rest of the carinated bowls in the

deep body shape which is formed by straight flaring sides and a

14. See Chapter 5. p. 123 15. J. Sperling, op. cit., Fig, 19, no. 610; Fig. 20, no. 647. 16. J. Sperling, op. cit., Fig. 23, no. 204.

47 .

small., well-defined flat base. In Troy/Hisarlik Shape A. 12 from I-III settlements is generally related but differs on specific details. Usually instead of the small lug handle there is a tubular- lug or loop handle.

Thermi

In Class A. Bowl no. 1 is identical and noted for being the most common type of bowl in this class (Town I-II):

P1. XXXV no. 2.64 Town I

Beycesultan

Some fragments from the earlier levels of the Early Bronze Age

period belong to the shape, no. 5 (EBI) on Mellaart's typology:

Fig. P. 14 no. 20-25 Level XIX

Fig. P. 15 no. 18-21,9 28., 29 Level XVIII, XVII

Those of Level XVI, 'Fig. P. 23, are also similar in general form,

but are elaborated with lugs or loop handles.

Bowl no. 8 (Fig. 24; Pl. III)

The profile is still carinated but not so angular as the above bowls, and the inverted rim shows a flattish lip. This more rounded

carination is a development which starts in Middle Troy I- is. Fig.

259,263, and continues into Troy N.

The rmi

The nearest examples are found in Class Bp Bowl no. 1:

P1. XXXV no. 159 Town II or III

Pl. XXXV no. 188 Town III

-48

P1. X no. 321 Town IV

P1. XXXVI no. 353 Town IV

Beycesultan

Shape 4 of the E81 levels is a satisfactory parallel showing the same deep body and rounded carination. Only the small, angular

lug of the Yortan bowl is missing:

Fig. P. 14 no. 10,11p 19 Level XIX

Fig. P. 15 no. 35,379 38 Level XVII

Thus., While Troy and Thermi evidence suggests a date later than the

beginnings of the E82 period, Beycesultan finds point to an earlier

occurrence in the South-west. This point could be interpreted as a

proof of the contemporaneity of Troy I and Beycesultan Level XIX. 17

However, in the face of the rest of the parallels it is considered

that there are insufficient grounds for changing Mellaart's revised

chronology.

Bowl No. 92 10 (Fig. 24)

These shallow and carinated bowls are provided with a horizontal

loop handle which at Troy/Hisarlik does not appear before the second

settlement:

Fig. 412 no. 16,22 Troy IIc

Fig. 375 no. 36.838 Troy IId

no. 36.854 Troy IIf

As Shape A. 16p they are much deeper than the Yortan bowls and are

often wheel-made. Yet such handles do not occur in Troy Ip and a

17,3. Sperling, op, cit., p. 358 ff; see also Chapter 4,, p. lo 6

49

later date in the E82 seems more plausible than in the beginnings

of the period.

Thermi no. 495, P1. XXXVI, from Town V is a plausible parallel

hence supporting the lower date. The shape is noted as being rare in Class C pottery. Beycesultan also lacks good parallels. The

loop handles are found in the E82 levels,. ie. Fig. P. 23, no. 4.5P

6. but they tend to be rather highly flung and quite unlike the

Yortan shape. The only evidence for an earlier date is provided by

the two special bowls from Level XVIII, Fig. P. 17, no. 4.5. but

again the similarities are rather general.

Of the three bowls from the Berlin Collection, Berlin Nr. Vas.

4463 is mentioned by both W. Lamb and W. Orthmann, 18 and represents

a very distinct shape with flaring sides, rounded base, and lugs

set on the rim. It is quoted as being very similar to bowl no. 111,

P1. XXXV, from Thermi Town 11.19 The remaining two bowls, Bar. Nr.

64s, 65 (Fig. 24 ) on the other hand are completely different from

all other Yortan bowls. The shape is deep, sack-like, and without

a defined base. The simple and upright rim has a small lug handle.

One similar bowl was found at Babaköy (Fig. 87, no. 4)s otherwise the

comparative material is completely lacking in Anatolia. In view of- their simple and rounded shape, an earlier date-in the Early Bronze

Age seems appropriate, and they may even be imports (Cyprus? ).

18. See p. 42: 19. W. Lambs, op. cit., p. 86

50

SHAPE II Small jars with tall neck and on feet

(Fig. 26-27; Pl. IV)

Together with the next shape of jars of an identical general form, these vessels constitute a numerous and highly distinctive

shape of pottery from Yortan. Except for no. 38 (Fig. 27 ) all the known examples share the same features. The neck is tall, often

cylindrical or slightly flaring. It is topped with a flanged rim. Two holes placed opposite one another and below the rim serve to

attach the lid of Type (a) (Fig. 33,34). The body is round or globular and stands on three or four feet. There are always two verti-

cally pierced lugs (tab handles) on the middle of the body, and

sometimes also two small knobs in between the lugs. Jar no. 38

differs from the others in its larger size and in the everted rather than flanged form of the rim.

The jar was initially made in two separate parts, the neck and body. After joining them the additional features such as the feet

were applied before the slip coating and incision. To produce

vessels of this size, the fabric had to be finer than that used for

the larger jars and jugs; but there are some coarser pieces and

often the firing temperatures are low. No. 7 (Fig. 25 ) is an

exceptionally fine product with very thin and hard-fired walls, and

a very smooth burnished surface. Burnishing, possibly after a slip

coating, appears to be the usual way of surface treatment. The

absence of the red ware jars is notable. No. I (Fig. 25 ) and a

second jar in the Berlin Collection20 are plain vessels, the rest being ornamented by incision. The linear geometric motifs are

arranged in two ways - either horizontally parallel to the contours

of the body (no. 2- no. 17). or vertically between the neck base

and the feet (no. 18 - no. 38). Oddly enough the popularity of these small vessels at Yortan is contrasted by their almost total

20. W. Orthmannp op. cit., p. 13p Abb. 6. no. 46.

51

absence at Troy/Hisarlik and Thermi. Some related jars occur at Beycesultan.

Troy/Hisarlik

The nearest shapes are c. 28 and c. 35 which do not occur in Troy

I. The following coarse examples of c. 28 may be cited:

Fig. 401 no. 35,769 Troy IIg

Fig. 401 no. 35.515 Troy Ng

These jars are similar only in the general shape of the lugs and

body which stands on a flattened base. C. 35 on tripod feet, there-

fore, makes a better comparative case:

Fig. 403 no. 36.742 Troy IId

Fig. 403 no. 37.967 Troy lid

Fig. 403 no. 37.427 Troy IIg

Some surprisingly good examples of the Yortan shape are found in

Troy IIIa. Fig. 78p no. 34.525, no. 34.289, which are also incised

in the Yortan fashion.

Thermi

The jar is completely missing in all levels.

Beycesultan

Here,, too, the jar falls short of being identical and it can

only be related to the Yortan shape in a general way:

Fig. P. 22 no. 5 Level XVIc has pierced lugs and in-

cised chevrons, but is not

on tripod feet

Fig. P. 25 no. 24 Level XVI no. 19 of the same level

could also be rated as a

related jar

52

Fig. P. 33 no. 12 LevelXV but larger in size Fig. P. 38 no. 21 Leve1XIV ornamented with grooves which

are not found on the Yortan

jars

Fig. P. 41 no. 1., 3 Level XIV

Although these jars are undoubtedly a variation of the Yortan shape, they do not share the same details of form and ornamentation. The

rarity of Type (a) lids at this site is also worthy of note.

This partial or complete absence of close parallels from all three sites calls for an explanation. Is it because such vessels

were mainly produced for the burials and so are largely absent on

settlement sites? Or is this pot one of the characteristics of the

Yortan Culture pottery and therefore does not occur outside it? On

present evidence the answer seems to lie somewhere in between the

two alternatives. Almost complete lack of finds at Troy/Hisarlik

and Thermi, which otherwise are closely related to Yortan and can

even be understood as sites situated on the peripheries of the

Yortan Culture tend to favour the former possibility. In support

of the latter is the fact that quite similar jars are reported from

the Sardis burials21 which still belong to the Yortan Culture but

they are missing altogether in the pithos burials of the plain of Elmali where the pottery is basically different from that of the

North-west.

21. D. G. Mitten and G. Yüdrüm, 1971, HSCP 75: Fig. 4,9 9.

53

SHAPE III Larger jars with tall neck and on flattened base.

(Fig. 28-32; P1. U)

Twenty seven jars belong to this shape. 22 In basic outline they

are not different from the previous group, but some are rather large

and instead of the pierced lugs, four small loop handles are set

vertically on the upper body. Only on no. 4 (Fig. 28) are these

handles replaced by four elongated knobs. The base is flattened or.

slightly rounded but never on tripod or quadruple feet. Elsewhere

this generalisation does not seem to exist. Among the vessels of

uncertain provenance, no. 37 (Pl. XVII) is an identical large jar

but like the jars of Shape II it stands on tripod feet and has lugs

and incised decoration.

With the exception of no. 6 (Fig. 29 ) ornamentation is always

in matt white chevrons, four on each pot. Sometimes there are also

plastic knobs. No. 6 is a misfit; it is covered with incised lines,

on the neck and body, and besides the four loop handles there is a basket handle'over the horizontal mouth. The incised and white-

filled pattern on the neck is rather striking but has not been noted

from any of the excavated sites. A second but coarser jar of similar details is known to have been found in the robbed tombs of the North-

west (Fig. 91 , no. 22 ). 23

The fabric is naturally coarser than that of the smaller jars;

but'the surface finish is still fine and often burnished to a high

shine. 24 The comparative material is just as weak, with the better

material again coming from Beycesultan. As in the case of the pre-

vious group of smaller jars, similarities between the Yortan jars

and those of the three major sites exist only in the general form of

22. A further six vessels are given by Orthmann, 1966, Ist. Mitt. 16: 14.

23. This vase is now in Copenhagen.

24. See Chapter 2p p. 25.

54

the body and spout. The most recurring features of Yortan, the

small loop handles on the body and the matt white painting, are

never found elsewhere.

At Troy/Hisarlik c. 28 is the more relevant shape. Specific

examples from Level IIg have already been listed. 25 One further

broadly similar jar is no. 559, Pl. XIII, in Thermi Town II.

°Beycesultan

Fig. P. 33 no. 9.12 Level XV and possibly no. 4.6.

Light brown coloured no. 9 has incised zigzag band

or chevron motif. Fig. P. 42 no. 3 Level XIV differs from Yortan no. 4

only in the replacement of the handles with lugs.

0

Here, too, the comparative data suggest a data in the second half of the E82 period. Yet the nature of the fabric, surface treat-

ment, and the mottled colouring are all familiar technical details,

shared by bowls and jugs, and therefore the beginnings of these jars

need not be put later than other types. No. 4 (Fig. 28 ) is the

only jar that. imposes some difficulty in dating. The rim, neck and body are not different from the rest of the group, but here the

characteristic-small loop handles are substitutedr by four elongated knobs. Also the fabric is finer in texture and lighter in colour.

Originally it may have been slipped in a light red colour. Possibly

it is a later version of the shape. A similar typological distri-"

bution may also be suggested for a number of jars, no. 3 (Fig. 28

no.? (Fig. 29), Ber. -40,41,38 (Fig. 29-32), which all show, a sharper

outline marked by ä. carinated body, tall and conical neck and flattened

25. See p. 51

55

base. Bar. no. 38 (Fig. 32 ) is even provided with a raised base.

On these grounds it seems plausible to ascribe them a general date

between the middle and late EB2 while the rest with more rounded

and irregular outlook could belong to the early phase. A similar typological division is not apparent among the smaller jars of

Shape II.

In Poliochni "Yellow" similar vessels combine the characteris-

tics of these and Shape II jars; 26 in size they are like Shape III

but have pierced lugs., incised decoration, and tripod feet. Their

occurrence in the "Yellow" period is proof of the shape's continuity

to the end of the EB2, and into the E83 period.

SHAPE IV Small jars with short neck or hole-mouth

(Fig. 320 33; Pl. VI) )

The diagnostic feature is the small rounded or globular body,

topped with a short neck or hole-mouth. No. 1s 8er. 57,61 (Fig. `

32 ) have the simple flattened base; no. 2.32 4 (Fig. 322 33)

stand on tripod feet., and the rest are on short flaring pedestal

bases (Fig. 33 ). Every jar is provided with vertically pierced

lugs. No. 6 (Fig. 33 ) is a particularly fine specimen, ornamented

with fine incision and finished to a faultless lustrous black sur-

face. The shape cannot be said to typify the pottery of Yortan,

but it does represent a rather striking form and is found in good

numbers on the settlement sites. The interior of no. 4 jar (Fig.

33 ) was found to contain the remains of some red orange coloured

substance which must be the same as that in Shape II jars. 27

Depending on the form of the neck and'rim'lids (Shape V) of "a) or b)

types were used with these jars.

26, L. Bernabö-Brea (1976) Poliochni II0 Tav. CXCIX-CCI. 27. See Chapter 1sp. 17,19

56

Troy/Hisarlik

C. 24, c. 25, c. 27 (on flattened base); c. 34 (on tripod feet);

and c. 26, c. 31 (on pedestal base) are the relevant shapes. C. 34

and c. 31 are found at the end of Troy II but the rest are essentially Troy I shapes. Once more the crude and coarse nature of the material becomes rather obvious when compared with the fine products of the

Yortan potters: _

Fig. 230 no. 36.689 Troy Is


Fig. 230 no. 35.758 Troy Ic similar to Yortan no. 1

Fig. 230 no. 35.539 Troy Ic on tripod feet

Fig. 230 no. 36.691 Troy Ic

Fig. 230 no. 36.692 Troy Ic on pedestal base

Fig. 230 no. 36.687 Troy Ib with hole-mouth


There are also a number of body sherds in Troy I. Fig. 244, no. 23,

27; Fig. 247, no. 12, which are incised and may well belong to c. 24

and c. 31 shapes.

Thermi

This site also yields some very satisfactory parallels. Most

of the finds come from Town I-III. The hole-mouth appears in Town

IV:

Pl. VIII no. 9.10 Town I second jar is decorated

with ribbings

P1. XXXV no. 113 Town II


Pl. VIII no. 249 Town III decorated with impressed

herring-bone pattern

P1. XXXVI no. 250 Town III

In the shape of the body, rim, and to a lesser degree pierced lugs,

57

all of these jars are indistinguishable from Yortan no. '3 and 4 (Fig.

320 33 ). Only the raised base is not found at Yortan. Instead

there is the more developed pedestal. The following examples are on tripod feet:


Pl. XIII no. 200 Town III has vertical, incised bands

Pl. IX no. 201 Town III incised

Three further examples are the hole-mouth type:

P1. XIII no. 356 Town IV incised

P1. XXXVII no. 387 Town IV biconical shape, incised

Pl. XXXVII no. 410 Town IV

Pl. XXXVII no. 411 Town IV

Beycesultan

Karatas-Semayuk has not produced any such examples. It is also

rare at Beycesultan. The known examples are ornamented in heavy

grooves:

Fig. P. 41 no. 4,, 6 Level XIV

Fig. P. 45 no. 3 Level XIIIc

The Yortan jars are ornamented sparingly in fine incision. The

more richly incised examples, no. 10-14 (Fig. 90) are from the

Balikesir tombs, Some of these jars are on tall and flaring pedestal bases which together with the more elaborate ornamentation and

superior surface finish could be taken to imply an E82 date later

than that of the above-mentioned Yortan jars. Such a date is con-

ceivable only for no. 1 and 2 (Fig. 32 ) of Yortan, which are made

of a uniform light grey and hard fabric without mottling. Also

no. 2 could be likened to Beycesultan jars, no. 4, ,6 of Level XIV,

Fig. P. M.

In the Cyclades the shape is known as the pyxis. Both stone

58

and clay pyxides occur in the Grotta-Pelos and Keros-Syros Cultures, 28

but any relationship between the Anatolian jars and the Cycladic

pyxides ought to be understood in the broadest sense of the word.

True, in both regions the shape contains an individual and marked

'character, it is provided with pierced lugs, and there is a lid with

string holes; but the common features cannot be taken beyond this

point, and in other details of shape and decoration there is no

resemblance whatsoever. The only Yortan vessel that can possibly

be regarded as remotely related to the Cycladic pots is the pyxis

proper, Fig. 89 ' no. 9' which with the flanged base and almost

upright sides bears some resemblance to the Grotta-Pelos variety

withýa slightly domed lid. 29

SHAPE V Lids (Fig. 33-34 ; P1. VI)

0

Lids make up an additional group of comparative material. The

basic form varies according to the shape of the rim and neck of the

pot which is enclosed by these delicate objects. At Yortan two

main types,, (a) and (b), are known and they belong to the jars of

Shape II and IV. A third, Type (c), is a coarse vessel and was

clearly for a storage jar.

Type (a)

At Yortan they are mostly in a convex or dome shape. A central,

knob on the outside serves as the lid-handle. Two holes on either

side of the knob correspond to those of the jar below the rim, and

also to the pierced lugs on the middle body. The fabric, surface

treatment, and incised decoration are the same as those of the jars.

28. J. E. Coleman (1977) Art and Culture of the Cyclades, ed. J. Thimme, p. 110 ffs P1.388-391,395,396,392.

29. Ibid.

59

"Kokten's finds at Babaköy Burial no. 430 were enough to prove that at least some of these lids belong to the jars of Shape II.

Now Gaudin's illustrations, (Fig. 1-11 ) Pithos no. B. 15,450 479 48,582 622 06, are available for'further confirmation of this fact. Some of the lids, especially those with a`flat rather than a convex profile might also have been used with the pyxis which is

not represented in the Yortan finds but is known from other cemeteries of the North-west, Fig. 89 2 no. 7-9.

Jars of Shape III are also suitably' farmed for this type of

coverage but somehow none of the Yortan examples has the necessary

string holes under the flanged rim.

Both convex and flat lids are found throughout Troy/Hisarlik as Shape D. 14 and D. 15. Several were found at Kumtepe: 31

Fig. 267 no. 33.195

Fig. 267 no. 36.678

P1.78 no. 724

Pl. 78 no. 826

Troy I

Troy I

Kumtepe Ic 1

Kumtepe Ic 2

The Thermi lids classified as Type Ig and Ii belong to the con-

vex shape and are found in Town I--! II. Type Ih is flat and very

common in Town I-III. Type Ifs which is also convex but much smaller in size, appears in Town III-IV. In the absence of the jars, Shape

II, one must assume that all these lids were for the pyxis and hole-

mouth jar of Shape IV ! both of which occur in good numbers on this

site and Troy/Hisarlik. At Beycesultan only three such lids were found. The first two, Fig. P. 20, no. 5 and 72 come from Level XVIII,

and the third., Fig. P. 33.. no. 7,, from Level XV.

30, I. K. Kökten, 1949, Bell. 13: Lev. XCIV. 31. J. Sperling, op. cit.

60

Type (b) (Fig. 34)

These lids have a flat top crowned with five knobs, four of which are flattish and obliquely pierced. The fifth is a central

and conical one. The general shape of the lid is cylindrical so that the straight sides fit over the short collar neck of the jars Shape IV. Troy Shape. D. 11 is an exact parallel in the Early sub-

32 period of Troy I. One fragment was found in Kumtepe Ic 2 phase.

Fig. 231 no. 33,162 Troy Ic

Fig. 23 no. 825 Kumtepe Ic 2

Thermi

Lids Type XIV a and b are in this shape.

P1. XVII no. 107 Town I or II


Type (c) (Fig. 34)

The only example from Yortan is a coarse and irregularly shaped

vessel without any ornamentation. Shape D. 1 from Troy/Hisarlik is

an exact parallel and occurs from Troy I onwards. The later exam-

ples are wheel-made. At Thermi it is Type XIIId (P1. XL) and is

found in Town I and III-IV.

Obviously the purpose of these objects was to provide coverage

for the jars with suitable apertures; but as handmade pottery, the

lid and the pot never show a tight fit, and one may wonder whether

this was a symbolic rather than a practical arrangement. Since the

holes are positioned opposite one another, the lid would have been

tied down on either side, perhaps with some perishable string. With

32. J. Sperling, op, cit.

61

Type (b) lids, there is no hole under the jar rim, and it must have

just fitted over the short and upright neck, unless of course the

vertically pierced lugs on the jar body and those on top of the lid

also had the function of securing the two pieces into one unit. Perhaps in this way the "secret" contents of these pots were "safely"

enclosed as part of the rite, and then deposited in the tombs with the dead. 33

SHAPE VI Juglets (Fig. 35 ; P1. VII )

Some thirteen pieces are illustrated for this miniature and very

striking jug shape. 34 With the exception of no. 1 (Fig. 35 ) the

height is never above 7,5 cm. The short neck is round, or more

rarely angular, and extends to form an obliquely cut, or cutaway type spout, sometimes with a notched tip. The single loop handle

can be oval or angular in section. The pouring channel is no more than a narrow hole leading into a solid body with little space to

hold any liquid.

The miniature size could only be attained by using a fabric much finer than that for the larger jugs. The surface is always highly

burnished and ornamented with incised and white filled patterns.

No. 11 and 12 are particularly fine products.

One crude juglet from the Third City is illustrated by Schliemann

in Ilios no. 44.35 Otherwise it is not represented at Troy/Hisarlik

or Beycesultan. However, one fair example is known from Kara Agac

Tepe36 and there are some surprisingly good parallels at Thermi:

33, See Chapter 1s p. 17 34. Thirteen more juglets are given by W. Orthmann, op. cit.. p. 10. 35. H. Schliemann (1880) Ilios. 36. R. Demangel (1926) Le Tumulus dit de Protesilas, p. 180 Fig. 17.

62

P1. XII, no. '63 Town I classified as Miniature vase XLIII Type 38

P1. XII no. 556 Town I

P1. XII no. 126 Town II


P1. IX no. 506 Town V Class CS jug 11 - incomplete

The juglet is best represented in the Class A pottery of the site. Jug no. 11 of Class C could also be this shape, which is in line

with the argument that these vessels are really miniatures of the

larger jugs,, Shape VII-X, which start in the beginnings of the E82

period, if not earlier, and last to the and of the period.

A rare appearance on the settlement sites once again provokes the question of the purpose of these jugs. It is most unlikely that

they could be considered as small containers of a rare or valuable liquid. The globular or pear-shaped body is simply not made to hold

any liquid at all. As miniatures of the larger jugs they were

perhaps children's "toys". Since some are found in the habitation

levels of Thermi the living children might have had them as well.

The lack of finds at Beycesultan and Karatap-Semayük shows clearly that this is another characteristic of the Yortan pottery not found

in the South-west. *

SHAPE VII Small jugs with obliquely cut spout" (Fig. 36p 37;

PI. -VII)

The largest jug, no. 6 (Fig. 36 ) is not higher than 12.5 cm.

Otherwise these and the next shape of jugs share the same features.

A round or globular. body stands on a flattened base, and only in

two cases are, tripod feet provided. The short neck is broad and flaring, and is cut obliquely to form a modest beak spout. 'A

slightly everted rim always has a round rimlip. Each jug is pro-

vided with a loop handle which is placed between the upper part of

63

the body and the lowest point of the rim at the base of the neck. Jug no. 6 and no. 14 (Fig. 6,37) have a second, smaller loop handle

on the front of the body. More unusual is no. 7 (Fig. 36 )' with three such extra handles. Obviously the hallmark of these jugs is

the form of the spout and the single loop handle. Only one jug,

no. I (Fig. 36 ) does not comply with this rule, and instead it has

a horizontal spout. Several more jugs with this type of spout are illustrated from the Berlin Collection37 but they seem to be later

in date, possibly belonging to Class 8 or C pottery of Yortan.

The fabric varies between fine and coarse. The surface is

smooth and often. burnished after slipping. Mottling is very common. Black and grey. colours dominate and out of a total of twenty two

jugs only three could be singled out as red ware, 38

no. 20s 21s

Bar. 8 (Fig. 37 ). Incision is never applied to this or the next

shape. When ornamented it is either with simple plastic features

or, more commonly, with matt white painting. No. 19 (Fig. 37 ) is

a particularly unsuccessful product; the overall shaping is irre-

gular, the walls are rather thick, and due to the mottling, and

possibly also to soil conditions, the chevrons are hardly visible.

In some parts they actually appear in a tone of grey and darker

than the background colour. At the other extreme no. 7 (Fig. 36 )

is a very fine piece, unfortunately incompletely preserved. A

highly burnished surface is in two colours, black above the handles

and a mild tone of light brown on the lower body. This gives the

impression of the ability to control oxidisation and reducing the

atmosphere of the kiln. However, such vessels are very rare at Yortan and need not be any more than accidental products.

39

37, W. Orthmann, op. cit., Abb. 1$ no. 12 22 3. 38. It is possible that some of the twenty six vessels listed by

Orthmann, op. cit., p. 4. as jugs with obliquely cut spouts (Schnabelkannenp Gruppe 2) are also in red ware.

39. See also Chapter 2., p. 27

64

Troy/Hisarlik

Shape 8.13,8.14, and to a lesser degree 8.17, are beak-spouted

jugs. Smaller examples are rare, and all the finds show a fabric

coarser than that of Yortan. Shape B. 13 and B. 14 belong to Troy I. Shape 8,17 more or less takes the form into Troy II:



Thermi

Jug 1., 5, j 6 of Class A and jug 1.20 6 of Class C' are' fairly

good parallels:

Pl. XII no. 71 Town 'I

P1. X no. 560 Town I

Pl. VIII no. 161 Town II

Pl. XII no. 164 Town II or III

Pl. XII no. 235 Town III

P1. VIII no. 253 Town III impressed chevrons

P1. XII no. 570 Town IV

Beycesultan

One such beak spouted jug makes an early appearance in Level

XIX. But the shape becomes common in the E82 Levels (Shape no. 8):

Fig. P. 14 no. 31,36 Level XIX

Fig. P. 22 no. 3., 12 Level XVIc

Fig. P. 25 no. 5.6p 7p 8p 13 Level XVI

Fig. P. 38 no. 13 Level XIV

Fig. P. 39 no. 2,3 Level XIV

Some of these jugs are in a neck"and spout'form which is slimmer

than that of the Yortan jugs. This slight deviation in broadly the

same type of jug can be observed also on jugs of the Elmali plain

65

and may be attributed to regional variations.

Further comments on the peculiarities of the shape are outlined under the next Shape.

SHAPE VIII Larger jugs with obliquely cut spout (Fig. 38-44;

P1. VIII )

These larger vessels make better comparative material than the

smaller jugs which were probably also play objects for the younger

population of the site. Altogether some eighty five jugs are known

to exist, which makes the shape the most numerously represented one in'the pottery of Yortan. 40

Ornamentation and other details are the safe as those noted for the previous Shape VII. Being larger

and thicker pats, the fabric is naturally coarser but few jugs are

very coarse. 41 The formation of the body and neck is rarely perfect,

with much asymmetry all round. The surface colour is mottled in

tones of black, grey and brown. Nevertheless these jugs often make

a very attractive pottery and it seems that this achievement is

mainly due to the application of a slip coating and subsequent bur-

nishing. In this way the coarse nature of the fabric could be con-

cealed and a lively outlook gained. Moreover, since all the vessels

are hand-made the irregularities in shaping are favourably balanced

by a feeling of individuality that is embodied in each pot.

Characteristically, the globular body sits on a small base,

tilted forward. The single loop handle is usually oval in section, but sometimes it acquires a sharper outline becoming a little angular.

This metallic feature does not, however, appear on any other part of

40, Here only twenty seven jugs could be illustrated. The rest are in the Berlin Collection. See note 37.

41. Petrological analysis of jug no. 25, Fig. 44., see Chapter 2. p. 27.

66

the pot. Several attractive jugs, no. 6.112 12p 15 (Fig. 39,40,41)

share a' gently ;; rounded bulge on the lower part of the neck and the spout is cut steeply in a true beak-like formation. All these

details contribute to the naturalistic and lively, rather than dull

and metallic, impression of the shape. To illustrate the point

with one example, Fig. 92 ' no. 26 9 is a jug with a better fabric

and symmetry and therefore it is technically a superior product.

Yet in its dull, grey colour and rigid outline, it does not make

a beautiful or attractive vessel.

Jug. no. . 15 (Fig. 41) may be pointed out as the best Yortan

product of the shape. Jug no. 26 (Fig. 44 ) falls slightly out of

the general shape. It is a rather squat vessel, with a broad neck

and spout which give it a "Kusura cup" type outlook. Dark, brownish

colour and very prominent knobs all add to the "foreign" appearance

of the vessel.

Troy/Hisarlsk

8.13 is an identical shape and found throughout Troy I. None

of the examples is ornamented with matt white chevrons:

Fig. 228 no. 36.735 Troy Ia

Fig. 228 no. 36.843 Troy Ia



Fig. 228 no. 37.1137 Troy Ic

The shape continues into Troy II and III as 8.17, but then the spout

is less beak-like and more horizontal:


Fig. 388 no. 35.513 Troy IIg


Fig. 70 no. 34.278 Troy III

67

Kumtepe, ýca. 5 km north-west of Troy/Hisarlik mound also has

these jugs in the Ic 1 phase, thus confirming a very early E82

appearance of the shape in the Troad. 42

P1.78 no. 721,, 722 Kumtepe Ic 1

P1.78 no. 816,8170 818 Kumtepe Ic 2

But several jugs from Kara A6aq Tape are the closest Troad finds

to the Yortan group. 43 In every detail of the shape - oblique cut-

ting of the spout, single loop handle, overall proportions of the

shape, and the surface treatment - they are almost indistinguishable

from those of Yortan.

Thermi

P1. XXXV no. 18 Town I

Pl. VIII no. 70 Town I

Pl. XII no. 233 Town III

Pl. XII no. 288 Town III three knobs on the upper body

Pl. XXXVI no. 327 Town IV brown ware

Pl. XXXVI no. 328 Town IV grey., brown ware

Pl. XXXYII no. 413 Town IV

Pl. XXXVII no. 419 Town IV with a rather broad neck

and spout

Beycesultan

Fig. P. 25 no. 1.22 3s 12 Level XVI but more like the

"Kusura Cup"

Fig. P. 31 no. 4.9 Level XV on tripod feet

Fig. P. 32 no. 1.2p 3 Level XV

Fig. P. 40 no. 3.42 5o 6 Level XIV

42. J. Sperling, 1976, Kumtepe in the Troad, .. H,, ýeesýp,.

45, no. 4. 43, R. Demangel (1926) Le Tumulus dit de Protbsilas, p. 390 Fig.

46; p. 550 Fig. 69; p. 579 Fig. 72.

68

Several minor variations may be pointed out; no. 2 and 3 from

Level XVI are more in the "Kusura cup" form which is not really

represented at Yortan; no. 12 of the same level is a better parallel with a twisted handle, which on Yortan jugs no. 13 (Fig. 40 ) is

single. In addition to the Beycesultan material some finds from

Karatas-Semayuk are worthy of mention:

Pl. 81 Fig. 23 AJA 68-(1964) red slipped P1.60 Fig, 6 AJA 69 (1965) black, white painted Pl. 83 Fig. 48 AN 71 (1967) dark., plain P1.84 Fig. 34 AJA 72 (1968) red polished P1.73 Fig. 9 AN 73 (1969) red polished, white painted

These are some of the finds that come close to resembling the Yortan

shape. But a more popular jug of this site has a narrower neck and

more everted rim, already noted among the smaller jugs (Shape VII)

of Beycesultan. 44 Two further aspects of the Karata? pottery are interesting; despite the less satisfactory parallels to the pottery

of Yortan, the matt white painting, which has so far been rare out-

side Yortan in the EB2 period, is in full use here on black and red burnished wares; secondly, the characteristic pottery of the plain is red burnished, and matt white painting is not restricted to chev-

rons or zigzag lines, but takes other forms such as parallel lines

or hanging spirals. On the whole it is a thicker, sturdier pottery than that of Yortan and often a very broad loop handle has the white decoration as well.

45

Besides their large numbers at Yortan these jugs, small or large,

are also conspicuous in having a very broad geographical distribution.

and are certainly the best known North-west shape outside the area.

44, For some examples of the form see M. J. Mellink, 1964, AN 68: P1.80p Fig. 160 17p Pl. 81v Fig. 22,23; 1966, AN 70: Pl. 590 Fig. 15.9 17p 19; 1968, AJA 72: P1.84p Fig. 34.

45. Ibid.

69

Beyond the'Troad at Poliochni on Lemnos it starts in the "Black"

period with a modest beak-spout but a rather large loop handle. 46

It continues into the "Green" period. Further west it is found at Dikili Tai in the E82 levels, 47

and in Bulgaria from Ezero A (Horizon XIII) onward.

48 However, so far nothing comparable has

come to light in the Cyclades or mainland Greece. Along the Anato-

lian coast it is probably one of the vessels that make up the so-

called "Troy I horizon" at Emporia-on Chios. 49 At MUsgebi a few

unstratified jugs belong to the South-west variety of the shape. so

Towards the South-east the "Kusura, cup" and some more Yortan-like

versions are well spread in the Burdur-Isparta region, is, Senirce, 51

Mancarli HUyük, Yassi Huyük52. and make a surprising extension into

the Eskisehir-Ankara region. 53

The frequent appearance of the jug on the three main sites is

very important in helping to secure a chronological identity for

the shape and for the Yortan Class A pottery in general. Clearly,

it was in use from the earliest levels of the E82 period in the

Troad, and possibly earlier at Beycesultan. But it does not seem

to have evolved from an earlier shape at either of these sites. In

view of its very substantial presence at Yortan it iss I believe,

conceivable to suggest that the jug is a product of the Yortan Cul-

ture with the beginnings being much earlier than the EB2 period.

46, L. Bernabä-Brea (1964) Poliochni I. 2, Black - Tav. I f, g, Tav. III k; Blue - Tav. XLII-XLV; Green - Tav. CXXII.

47.3. Deshayes, 1972, Arch. 25, no. 3: 199. 48. C. I. Georgiev, N. 3. Merpert and G. D. Dimitrov (1979)

Ezero, Abb. 174. 49. S. Hood (1965) Atti del VI Conpresso Internazionale delle

Scienze Preistoriche a Protostoriche, Sezione III, p. 226. 50. E. Vermeule, 1964, Arch, 17, no. 4: 247,248. 51. H. A. Ormerod, 1911-12, BSA 18: Pl. V, no. 3,4; P1. VI, no.

4,6; Pl. VII, no. 6,9,10. 52.3. Mellaart, 1954, ASA 4: 230, no. 352,357-359; 232, no. 361,

362. 53. For a general account see 3. Mellaart, 1971, CAH Vol. Is part 2:

371 ff, 383 ff. Also S. Lloyd and 3. Mellaart (1962) Be ce- sultan I. p. 183.

70

Its development could have been in the E91. Poliochni ands. to some extent, Ezero finds are in support of an early date.

SHAPE IX Small jugs with cutaway spout (Fig. 45-47 ; Pl. IX

This and the next Shape, which are identical except for size, also make up a numerous and distinctly west Anatolian group of

vessels. 54 The smallest jug, no. I (Fig. 45 ) is ca. 10 cm and the

largest, no. 1 (Fig. 46 ) ca. 17 cm high. Shape X contains jugs

which are never under 20 cm. The most characteristic of the shape is the cutaway form of the neck and spout. Jugs no. 7 (Fig. 45) and

and no. 8,9, (Fig, 46) stand on tripod feet. The rest are on a

rounded or flattened type of base. As usual the fabric varies bet-

ween fine and coarse, and contains a micacious body. The burnished

or smoothed surface has all the signs of lack of even firing conditions. Few vessels-such as no. 3 (Fig. 45) or no. 16 (Fig. 47) are fired to one uniform colour; but the shaping is very competent and

always treated to a smooth finish. Besides slipping and/or burnish-

ing, the decoration takes the form of simple plastic features or

matt white painting. Jug no. 8 (Fig. 46) is striking in its three

pairs of very prominent, almost horn-like knobs. Jug no. 9. (Fig.

46 ) has three horizontal bars across the painted chevrons. The

"pendant-like" feature occurs on jug no. 11 (Fig. 46 ) and no. 13 (Fig. 46). A more unusually decorated vessel is no. 2 (Fig. 45)

which is covered with flutings on the upper body. This type of

plastic "ornamentation" is very rare at Yortan and the Yortan Culture

in general.

Among the white painted jugs no. 14 (Fig. 47) is the most

)

54, Twelve more jugs with cutaway spouts belong to the Berlin Collection. See W. Orthmann, 1966, Ist. Mitt. 16: 62 Schnabelkannen Gruppe 4.

71

elaborately decorated one; it has three quadruple chevrons, three

plastic crescents, and two large cross-hatched lozenges. In contrast to this and the above-mentioned jugs, no. 11 (Fig. 46 ) shows

every sign of a failed product; the shape is irregularly formed,

the colouring is in a state of confusion, and the faint chevrons

appear as if allowed to trickle downs rather than drawn on, the

surface,

For comparative material Thermi is the only site with such small jugs and they are therefore not treated separately from the next

Shape.

SHAPE X Larger jugs with cutaway spout (Fig. 48-64;

Pl. X)

Thus far the presentation of individual 'jugs within their shape'

groups has been based mainly on the ornamentation and to some extent

on the colour of the ware. Here the method is abandoned for once

and the thirty four vessels are arranged according to the peculiari-

ties of their most typical feature, the spout. In the making of these jugs, the two main parts, the neck and body, would normally

be built separately and joined before the drying of the clay. The

formation of the spout takes several cuttings; first a part of the

upper section of the cylindrically set-up neck is sliced off in an

oblique stroke producing a slanting or rising spout. For jugs of

Shape VII-VIII the-process-of°shaping the spout ends-at this stage; but

here more of the neck has to be removed in a second cutting, this

time with a near-vertical stroke towards the neck base. The addition

of the loop handle and other extra features such as the feet or

knobs has to be carried out before the application of the slip coat-

ing which at Yortan was apparently done with a cloth or brush.

According to the degree of the cuttings the jugs can be divided

into six groups which may or may not be typologically significant.

72

The first four jugs, no. 1-4 (Fig. 48p 49 ) have a relatively

short spout and the angle of the cutaway section (from the horizontal

plane) is less than 450. This gives the spout a beak-like appearance. In the second group, no. 5-9 (Fig. 50-52 ) the height'

of the spout is still short but the cutaway part is deep and makes a curving profile. The third and fourth groups, no. 10-19 (Fig.

52-57 ) and no. 20-25 (Fig. 58-60 ) have taller spouts which on the former group are large and deep and on the latter broad

and shallow. A further five jugs, no. 26-31 (Fig. 60-62 )'

classified as the fifth group, resemble some of the previous types

except that here the top part of the spout is either left horizontal

or cut obliquely in the opposite direction towards the front of the

vessel. No. 31 has a rare form. of the twisted handle; it is actu-

ally made of a number of thin and rounded strips of clay which are

pressed and stuck together, perhaps imitating a basket handle of

rushes or reeds. No. 29 jug is. exceptional in its sharply everted

rim with a flat top. This metallic outlook is increased by the tri-

angular section of the handle and a very deep and narrow pouring

channel.

The remaining three jugs, no. 32-34 (Fig. 630 64 ) differ from

the rest in the body and spout shapes. Whereas the above jugs, and the Yortan jugs in general, are round or globular, these three are

carinated and very metallic. The loop handle is flat, strap-like

and joins the rim at a point quite high up from the neck base.

In ornamentation the white chevrons over a dark burnished surface

again predominate. They are drawn in a characteristically rigid

style of three, four or five groups of parallel lines. Only on no. 22 (Fig. 58 ) is a more flexible hand in evidence, drawing in steady

and sweeping curves towards the base. Jug no. 29 is also outstanding

in ornamentation; besides the quadruple chevrons and moulded double

chevrons, there are two running double lozenges, one on either side

of the handle, and one vertical zigzag line on the front body. In

plastic one sees the usual knobs, bars or crescents. Mostly they

are placed on the upper body and/or on either side of the cutaway

73

spout. Sometimes the crescents are long and sweeping, no. 26 (Fig.

60 ) or rather short and low in relief, no. I (Fig. 48 ). On one

very large jug, no. 8 (Fig. 51 ) each crescent is partitioned in

the middle, by a perpendicular line. This jug also has a lively

imitation of a necklace and a pair of earrings.

Troy/Hisarlik

The material is disappointingly small. Shape 8.15 has a kind

of cutaway spout but the body is more like the jugs of Shape X:

Fig. 227 no. 35,649 Troy Ia

Fig. '247 no. 15 Troy If

Fig. 412 no. 29,34 Troy IIo

The last examples are found in the ledge. Oddly enough they are included under Shape 8.17 which is a jug, with obliquely cut spout.

Thermi

P1. XII no. 14 Town I three knobs and impressed

chevrons

P1. XII no. 15 Town I three knobs

P1. VIII no. 69 Town I

Pl. XII no. 116 Town II three knobs and impressed

chevrons Pl. XXXV no. 117 Town II

P1. VIII no. 163 Town II

or III

Pl. XXXV no. 203 Town III impressed chevrons


Pl., XXXV no. 233 Town III

P1. XXXVI no. 234 Town III incised on the base of neck

P1. XXXVI no. 252 Town III

Pl. XXXVI no. 287 Town III

Thermi yields some of the closest parallels, especially for the plain

74

vessels, -thus strengthening one's impression that Lesbos was part

of the cultures of the opposite mainland coast.

Beycesultan .

Shape no. 17 of EB1 and no. 10 of E82 are jugs with the cutaway

spout:

Fig. P. 14 no. 35 Level XIX

Unfortunately, this is a lonely find of the E81 levels and might be

considered an intrusion from the upper levels.

Fig. P. 22 no. 4 Level XVIc

Fig. P. 25 no. 11 Level XVI

Fig. P. 31 no, 5 Level XV on tripod feet., three

knobs

Fig. P. 39 no. 10 50 Level XIV no. Sand 13 are, on 11., 13 tripod feet

Fig. P. 40 no. 1 Level XIV double twisted handle

Fig. P. 45 no. 4 Level XIIIc

Jug no. 1 of Level XIV is a rather squat vessel with a very broad

neck and spout. No. 5 of the same level is quite similar to the

third group of the Yortan jugs, is. no. 1019, and can even be con-

sidered an import into Beycesultan.

Several fragments of body shards with plastic features and matt

white painting are also very important additional material. One

fragment, no. 11s Level XIV, has already been cited. Three more

came from Level XVIc, no. 2s 8s 11, and one need not doubt that

these sherds belong to such Yortan jugs as no. 10,19# 21p 23 or 31.

Thus., while the pottery of the Troad is almost without the shape, Thermi I-III and Beycesultan E82 levels (up to Level XIV) provide

some excellent parallels and therefore the shape should not be

75

considered as chronologically different from the jugs with obliquely

cut spout. A more precise definition of the lower and upper limits

must, however, remain tentative. Bearing in mind all the technical

details and stratigraphic occurrence of these and other jugs, one

can state that here, too, the basic shape probably starts back in

the EB1 period, 'and on grounds of typological observations - taller,

more beak-like spout, sharper rim formation, etc. - some of the

jugs, ie. the fifth group, could be thought to date from the end of the EB2 period.

Outside Anatolia the shape is outstanding in its almost non-

existent distribution. Even at Poliochni there is nothing compar-

able, thus confirming a limited distribution towards'the Troad coast.

In Early Bronze Age Crete a beak-spouted jug is thought to be a

derived form. 55 It seems correct to look beyond the island for the

ancestor of the vessel which does not occur in the preceding Neo-

lithic material, and the fourth group of the Yortan jugs is similar in spout formation. Yet the rest of the shape and ornamentation are

quite unlike the Yortan examples and it is hard to see a direct link

between them.

SHAPE XI Jugs with flanged rim and side-spout (rig. 65;

Pl. XI)

Six small jugs with a single or double side-spout form a'separate

shape which also exists in much larger vessels of the next group,

Shape XII. The side-spout is certainly an important feature but it

cannot be considered diagnostic. Such spouts are found on'a number

55, K. Branigan (1970) The Foundations of Palatial Crete, p. 190 ff; P. W. Warren (1973) Bronze Age Migrations in the Aegean, ed. R. A. Crossland and A. Birchall, p. 41 ff; J. L. Caskey, '1971, CAH, Vol. Is part 2, p. 799 ff.

76

of quite different shapes, and therefore the present classification

rests on the, form of the neck and spout. The latter part is again in a slanting profile but unlike Shape VII-VIII jugs here the rim is considerably everted and forms a broad, inward-sloping spout. The fabric is moderately fine and is fired a little harder than the

usual Class A pottery. The burnishing over the lighter tone of grey is low. In addition to the side-spout some of the jugs have plastic knobs and crescents.

The parallel material from the three main sites is most inade-

quate. There is simply nothing at Troy/Hisarlik and Beycesultan,,

while on Lesbos only one jug, P1. X. no. 141, from Town II can pos-

sibly be held out as relevant. However, the situation is to some

extent improved by one find at Kara Agar Tepee Fig. 72.56 It is a highly burnished jug and compares with the Yortan example no. 5 (Fig. 65 ) in almost every detail showing that the lack of finds at Troy/Hisarlik or elsewhere could be superficial. Further comments

may be reserved until the next Shape.

SHAPE XII Larger jugs with flanged rim (Fig. 66-69; Pl. XI) )

The overall form of these eight jugs is similar to that of the

previous smaller shape. Compared with other jugs of the site, here

the body tends to be more rounded and the single loop handle is

usually angular in section. The neck is short, except for no. 3 (Fig. 67 ) and in outline the flanged rim is oval and not circular. Only one jug, no. 7 (Fig. 69 )' is in red ware. The fabric is not

coarse. It is always fired hard which makes these jugs less easily

breakable than other Class A vessels. There is slip coating and good burnishing.

56. R. Oemangel, op. cit., p. 57.

77

No. 3 jug is a very striking vessel. A tall, slender neck, very- thin and triangular loop handle, and a large squat body, coupled

with a very lustrous dark surface, combine to produce the most suc-

cessful product of the Class A pottery.

The ornamentation is the same as on other jugs. There are the

matt white painted chevrons, plastic crescents, or bars. Two jugs,

no. 2 (Fig. 66 ) and no. 3 (Fig. 67 )' have the "pendant" motif

which on the latter is particularly detailed, showing two round "beads" suspended froma "string line" knotted at the back.

Beycesultan has no comparable shape, but some good parallels can be sought out of the pottery of Troy I and Thermi I-III. "

Troy/Hisarllk

It is Shape 8.16 and occurs only in the Early and Middle sub-

periods:

Fig. 236 no. 5.14 Troy lb


These fragments of spouts and handles clearly belong to this Yortan

shape. In the publication of the above Troy/Hisarlik material, the

missing lower parts were restored according to the Thermi finds.

Therms

Pl. XII no. 12 Town I grooved chevron motif Pl. XII no. 99 Town I

or II

Pl. XII no. 115 Town II on tripod feet, ribbed deco-

ration., and knobs

P1. VIII no. 139 Town II with a side handle

Pl. X no. 141 Town II with a double side-spout Pl. XII no. 251 Town III knobs on the body

78

The Thermi jugs tend to have a form of spout which is bent backwards.

This feature has been noted on other Yortan jugs but does not occur

on this shape. 57

Otherwise the parallel material is admirably alike Yortan, confirming the shape's beginnings in the Troy I period. On the other hand, the lack of finds in Troy II or Thermi IV-V does

not'necessarily mean a short lifespan in the E62 period. On the

contrary, there are such technicalities as the harder fired fabric,

lighter colours of the smaller Shape XI, or high competence in

shaping that may well be understood as indicators of a prolonged

extension-into the later phases of the EB2. Furthermore, the side-

spout of one of the "teapots". Fig. 79 , no. 19, looks almost

exactly like the spouts of these jugs. This "teapot" (Class B pottery) is quite certain to date from the second half of the E82

period.

SHAPE XIII Tankards (Fig. 70 ; Pl. XII )

All three vessels are quite similar to each other. The body is

globular or pear-shaped and the short neck flares open to the hori-

zontal mouth. There are two flat loop handles, one on either side

of the neck. The rounded base is only slightly flattened.

Neither Thermi nor Troy/Hisarlik has such vessels. On the other hand, at Beycesultan one or two finds suggest an early date in the

EB1 period, or even earlier. Fig. P. 19, no. 2. in Level XVIIc is

practically identical to Yortan no. 2 in shape but is different in

its rather fine red coloured fabric. A second possible example is

a small jar, Fig. P. 129 no. 4. from Level XX.

These possible early occurrences at Beycesultan are, however,

57, See Shape VIII, p. 66..

79

offset by the presence of three almost identical tankards in Poli-

ochni Red58 which cannot be dated so early as the Eß1 period of

western Anatolia.

A certain degree of similarity between these tankards and the

well-known depas of Troy II and III is obvious; both shapes share the same upright posture, the mouthopening is horizontal over a flaring neck, and the two loop handles are placed vertically, oppo-

site one another. However, other particulars of the shape and fabric are considerably different and it seems incorrect to con-

sider these tankards as a form of the late EB2 depas. Firstly, the

Yortan pots are hand-made and therefore tend to be more irregular

and curvilinear than the wheel-made depas. Secondly, the handles

are flat in section and not round which is always the case of the

depas shape, A. 39, A. 43 of Troy/Hisarlik. Thirdly, there is the

nature of the fabric, which in no. 1 and no. 2 of Yortan is'rather

coarse anddark grey and quite the opposite of the fine and light,

coloured depas. In'this last respect no. 3 tankard of Yortan poses

some difficulties; its fabric is indeed very fine and light brown

in colour; the burnished surface is coated with a dark brown slip

which has actually been compared with the brown wares of Thermi

Class C pottery (Town IV-V). 59 These considerations together with the Poliochni Red tankards admittedly make it hard to put the shape into the category of the earliest Yortan pottery; but a link with the depas seems quite unwarranted.

58. L. Bernabo-Breas op. cit., Tav. CXLIII ip CXLVI dq f. 59. R. W. Hutchnison., 1935, Iraq 2: 214.

80

SHAPE XIV Bird-shaped vessels (Fig. 71-73 ; P1. XII )

Here a number of vessels of a unique shape introduce a pleasant break into the monotonous recurrence of the innumerable jars and jugs of ordinary forms. All nine carry the identity of depicting

a bird in a varying degree of realism. No. 1 and no. 2 (Fig. 71 )

are rather stylised and only vaguely recall such modelling. The

other seven vessels are more or less identical in having a horizon-

tally mounted standing body position on three feet, and it is really this characteristic and to some extent the ornamental details that

give them the appearance of a bird in a standing position. The tail

is indicated in a pointed knob, or a flat and broad projection. At

the other end the neck and head are not modelled in any form of

naturalism. Instead there is a functional spout of the cutaway type. No. 4 (Fig. 72 ) is the largest and with its broad, dumpy

body may be representing a duck. The fluted decoration is purely

ornamental. No. 5 has a long, slender body and upon a highly bur-

nished surface the "wings" are roughly drawn in several grooved lines. No. 8 (Fig. 73 ) is the finest specimen of the shape, but

does not definitely come from Yortan. 60 The bright red colour slip

and the plastic rectangle on either side of the body have no parallel in the Yortan pottery. Two cute miniatures, no. 6.7 (Fig. 73 )0

are decorated with incision which again may represent a stylised depiction of such details as wings and feathers.

In contrast to its interesting and often humerous qualities, the bird vase, or "askos", does not form a common pottery shape, and wherever found the numbers are limited to a few. Nothing comparable is known in the EB1 or EB2 levels of Beycesultan or Thermi. Troy/

Hlsarlik material is a little more helpful. There are several spout fragments in Troy Is Fig. 245, no. 22-24, which could belong to such

60, The provenance of this jug is not so certain. The museum registration does give it as a "Yortan" find, but unlike other Yortan finds it is not specified as "given by P. Gaudin".

81

vessels. More important are Schliemann's finds, Ilios no. 160,133

and 134,61 which were found in the Second and Fourth Cities and rep-

resent a sow, a ram and a hedgehog, respectively. A second jug with the head of a sow on one end is known from Bos-öjük. 62

Zoomorphic

vessels, often of a very superior quality and an astonishing variety,

are a well-known feature of the Balikesir tombs, 63

but at Yortan

only one jug, no. 7 of Shape XVI, could be found to represent an

animal, perhaps a double hedgehog.

Despite the scarcity of the finds it is possible to suggest a

certain date for the Yortan shape. The three jugs of the Schliemann

Collection are ascribed to a E92 data which though unreliably stratified can be confirmed by a number of independent sources. In the

first case, while these vessels are special in overall shape, and

probably usage, they are very similar to the jugs of Class A pottery in the form of the spout, neck and tripod feet. In other words there are good reasons for thinking that these special vessels were

made by the same potters who also made the less complicated and more

common jugs. Thus, the spout form of no. 2 or no.. 4 (Fig. 71s 72),

really no different from that of Shape X jugs; or the miniatures

no. 6 and 7 (Fig. 73) bear close resemblance, both in shape and

ornamentation, to the juglets, Shape VI. Secondly, this quite

strong case for giving the shape a Class A pottery date can be

strengthened by several stratified finds in western Anatolia. From

the Chalcolithic levels of Demirci HUyuk (older than Phase I) comes

a small jug without the tripod feet but still clearly representing

a bird vase, perhaps an earlier form of it. 64 Several jugs in

Poliochni "Blue" are more in this form than the Yortan shape; 65

61. H. Schliemann (1880) Ilios. 62. A. Koerte, 1899, Ath. Mitt. 24: 1 ff, P1. He 63. Several examples are illustrated by W. Orthmann, op, cit.,

Taf. 2, no. 1,2. The author was also able to view some examples in a private collection.

64. M. Korfmann, 1979, Ist. Mitt. 29: Abb. 7, no. 7; M. Korfmann, 1978, An, SStt. 28: 18.

65. L. Bernaba-area, on. cit., Tav. XLII as b.

82

they are basically Shape VIII jugs, mounted on tripod feet and lying

in a horizontal position. Similar jugs are found further west, at Karanovo"VII,

66 and in the earlier Ezero A (Horizon XI). 67

Then,, -

several jugs from the Elmali plain appear in burials that can only be interpreted as middle or late E82. One askos, red, burnished

and white painted, was found in Tomb 167 together with a small jug,

a "rattle". as gifts to a child. 68 A similar jug occurs at Beyce-

sultan in-Level XIV, Fig. P. 37, no. 92 which is generally accepted to mark the middle phase of the EB2 period in western Anatolia. A

second askos was found in Tomb 144 together with two "teapots", 69

or the deep bowl with a basket handle and side-spout, which according to the Troy/Hisarlik sequence belongs to the latter part of Troy

II. In the absence of any contradictory evidence from Anatolia or the East Aegean, it seems certain to give the shape a prolonged use in EB1 and E82. None of the Yortan examples looks particularly

early so that here it may only be a question of an EB2 date.

Obviously these vessels cannot be looked upon as ordinary utensils

of domestic life. Rather, they must have been used in some cultic

ritual or practice. Most of the finds came from the burials, and

a purely secular function such as "toys" seems unlikely, especially

if one bears in mind the large size of some of the examples. Also,

the spout form indicates that the vessel was, with the exception of two miniatures, intended to be used for pouring out liquids, and

was not meant to be merely an object of play.

From the later ES 3a period there is another type of vase of the

piriform. shape Which is also called "askos", or "duck-vase" and occurs

at over one hundred sites in the Aegean. 70 One fragment was found

66. V. Mikov, 1959, Arch. 12i no. 3: 88. 67. G. I. Georgiev, N. 3. Merpert, and G. D. Dimitrov (1979) Ez ero.

Abb. 74. 68. M. 3. Mellink, 1967, AN 71: P1.760 Fig. 112 12. 69.

. Ibid. p. 253, Pl. 76j Fig. 10. 70. R. S. Merrillees, 1979, Acts of the International Archaeological

Symposium. Nicosia; S. Dietz, 1974, Act, Arch. 45: P. 138 ff.

- 83

in Beycesultan Level IX, Fig. P. 53, no. 1,71 a complete pot is said to be from the Izmir region, and at Troy/Hisarlik it is Shape'D. 12

of the fourth settlement. These finds from the islands and Greece

are thought to be of the same date, the earliest examples-occurring in the Phylakopi I Culture of Melos. In Greece it appears together

with the matt painting as "heralds" of the MHI period. 72 Thus,

according to the present evidence, there is a considerable timespan

between the Yortan bird vessels and the Aegean piriform pot which in

any case shows little resemblance to the early shape.

SHAPE XV Triple vessels (Fig. 74; Pl. XIII)

A second type of vessel in an unusual shape consists of three

jars which were made separately and then stuck together on a triangu-

lar plan under a single loop handle. There are only two examples at Yortan, and in fact this is another shape that does not occur in

large numbers elsewhere either. The Yortan examples are not-parti-

cularly fine; no. 2 (Pl. XIII) looks like a failure., or a rough job

where the jars do not fit properly into the intended arrangement. The smallest pot with a narrow neck opening is too small and had to

be raised to the right height by the addition of a tall stud on the

base. No. 1. is a better work where all three jars with everted rim

and horizontal mouth conform to the shape of a single multiple vessel. Both vases are made of a fine and hard fired fabric. The incised

decoration on the smoothed or slipped surface is careless and almost

scratch-like.

There is really no identical material from any of the major

Anatolian sites, but vessels of the same genre do occur over a wide

71. The identification of the Beycesultan find, no. 1. iss however, doubted by some. See above, note 70.

72. Ibid.

84

area. At Beycesultan, Fig. `P. 14, no. 32, in Level XIX is a coarse double jar with a loop handle. A second, quadruple vessel, Fig.

P. 20, "'no. 3, is a little later in date from Level XVIIb. It has

a different arrangement of handles and the ornamentation is not

incised but matt white painted. A second double jar is known from

Karatal-Semayük in Level V of the small central mound 73

which

Mellink tentatively dates to the end of the Troy I period74 but

according to the chronology adopted here should fall into the latter

part of the EB2 period. 75

These finds are not enough to fix a

secure date for the Yortan vases. They only indicate that the shape

is part of the EB2 pottery repertoire of western Anatolia, and that

already in the E81 period some complicated examples were in pro-

duction.

Several stray finds are more like the Yortan examples, Fig. 95

no. 3bj, 35.76 Further east the shape makes a surprising appearance

at Tarsus, ?7 Mersin, 78

and Kazanll79 of Cilicia. At Tarsus-Gözlü

Kule both fragments and complete vessels are said to begin in the

E52 period and continue to be made in the next period, so,

Some are

wheel-made and in certain details different from those of western

Anatolia. "Nevertheless., it is quite obvious that the Cilician triple

and quadruple jars did not have their ancestry in the local pottery tradition and therefore this should represent one of the few

73. M. J. Mellink, 1966, AJA 70: Pl. 61p Fig. 30. 74. M. J. Mellink, 1968, AJA 72: 259. 75. See Chapter 4. p. 111 76. One further triple. jars

_identical . to no. 34, Fig. 95s of the,

_. Institute of Archaeology, London, belongs to the Marburg Collection, and is said to come from Mordc an. See A. Götze (1957) Kultur eschichte Kleinasiens, Taf. 2p a; P. 29, no. 12.

77. H. Goldman 1956) Excavations at Gözlü Kula. Tarsus. II, p. 104, Pl. 260, Pl. 278.

78. J. Garstang (1953) Prehistoric Mersin, Fig. 119, no. 16; Fig. 117, no. 5.

79.3. Garstang, 1938, AAA 25: P1. VII, no. 10. 80. At Mersin, the vessel was found in a pit dating earlier than

EB1 period., but this would be an unreliable stratigraphy. See J. Garstang (1953) Prehistoric Mersin, Fig. 123, no. 16.

85

attestable links with the West in the EB2 period.

The kernos or multiple'vessel is also a characteristic feature

of the Early Bronze Age Cyclades. One splendid example comes from

halos in the Phylakopi I phase. 81 Some simpler double and triple

vessels of the Grotto-Pelos culture are no doubt earlier versions

of this complex object. 82 Such tall and flaring pedestal bases

are quite unknown in the Anatolian repertoire, but one unique jar

from Babakby, Fig. 95, no. 33 , may well be considered a related

form. Its central part is not like the pedestals of the Cycladic

kernoi but belongs to the jars of Shape III. Yet in the overall

impression, and the position of the four small hole-mouth jars, the

vessel'bears some'resemblance to the Cycladic "lamp" kernos. The

implications of such vaguely related objects in terms of contacts

and inter-relations between western Anatolia and the islands is

difficult to evaluate. Obviously there is little familiarity in

the actual shapes and ornamentation of these objects, whether it be

the kernoi, pyxides or schematic idols, but it is also clear that

the choice, of producing such complex and unusual vessels of the

same genre would have stemmed from the existence of'some'similar

ideas and traditions* 84

81, R. C. Bosanquet, 1896-98s BSA 3: 57; J. E. Coleman (1977) Art and Culture of the Cyclades, ed. J. Thimme, Pl. 422-424.

82. Ibid. See also C. Renfrew (1972) The Emergence of Civilisation,

p. 426. 83. P. Getz-Preziosi (1977) Art and Culture of the Cyclades, ed.

J. Thimme, Fig. 88, no. 3., 4. 84. A possible survival of the object and custom in the Greek Ortho-

dox Church has-been suggested for the offering of the first fruit of the harvest. See S. Xanthanidides, 1905-06s BSA 12: 9 ff.

86

SHAPE XVI Rare vessels (Fig. 74-76 ; Pl. XIII)

To this final group belong a number of jugs which contain enough individuality to warrant separate treatment from any of the previous

shape but still seem to belong to the Class A pottery.

No. 1 (Fig. 74 ) is too broken for a definite identification

of shape. The mottled dark surface has interlocking chevrons in

white painting. A long hole on one side could be a side-spout. The forms of the neck and handles or lugs are not obvious.

No. 2 (Fig. 74 ) is a small jug with an obliquely cut spout

and two sets of moulded parallel bars are set on either side of the body. It differs from Shape VII or XIII jugs in having a

narrow neck and flaring spout. It is really more like the jugs of the South-west. 85

No. 3 (Fig. 75 ; Pl. XIII) is a striking if not an ugly black

jug. It stands apart from other fluted jugs of Yortan and of the

South-west (where this mode of decoration is very common) in the

very prominent and heavy nature of the ribs. The broad and flat

beak spout is also an unknown form at Yortan. A jug from Demirci

HUyük is a little similar in the fluted ornamentation. 86 A better

parallel is from Karatac-Semayük. 87 The coarse black fabric,

slipped and burnished to a shiny black surface, is in favour of an EB2 date.

In contrast to this rather heavy pot, no. 4 (Fig. 75 ) is a fine

and delicately modelled black jug and quite unique'in its shape.

85. See P. 68 s note 44. 86. M. Korfmann, 1979, Ist. Mitt. 29: Abb. 11, no. 1. 87. M. J. Mellink, 1965, EA 69: P1.62s Fig. 21; but better

parallels to this form of spout are seen on metal jugs from Alaca HUyUk and Mähmatlar. " H. Z. Kogay (1951) Alaca Hüyük Kazis., 1937-1939, P1. CXXXII, Pl. CLXXVI; H. Z. Ko? aye 1950, Bell. 14: LEV. XXXVIII, Res. 8# 10.

87

This is also the only Yortan vessel where matt white painting is

not used to draw chevrons but instead there are groups of parallel lines. A later date in the E82 seems more appropriate-than one in

the beginnings of the period.

No. 5; Bar* 26 (Fig. 75 ; Pl. XIII ). Similar jugs are known

from Schliemann's finds. Ilios no. 358 is one example but it is

different from the Yortan vessels in the setting of the double spout. In this respect no. 351 is a better parallel.

88 A triple spouted jug was found at Karatal-Semayuk in Tomb 275. A9

No. 6 (Fig. 76 ) is perhaps the most unusual vase of the site. In many ways it is not different from other cutaway spouted jugs;

the spout, handle, globular body on tripod feet are all in the usual

proportions, but this is the only jug of the shape to have the

chevron or zigzag motif in incision rather than in matt white painting. Even more odd are the three sets of large triple holes round the body with each hole enclosed in a bubble-like cover of a very fine clay. All the "bubbles" are restored, which makes one wonder

about the authenticity of such a feature, quite unknown from any-

where else.

Finally there is the handsome jug, no. 7 (Fig. 76 ) which could

also be classified as Shape X. The dark grey fabric is rather fine.

The body is richly ornamented with plastic features which may be

likened to a double hedgehog. This is the only zoomorphic vessel found at Yortan.

88, H. Schliemann, ono cit. 89. M. 3. Mellink, 1969,. 83A 73: P1.73p Fig. 10.

88

CLASS 8 POTTERY

An assortment of twenty vessels of different shapes can be

singled out as a separate group dating from the end of the E82

period. This classification and dating are based partly on the

particulars of each pot and partly as a result of the parallel

material at Troy/Hisarlik. In comparison with the Class A jars

and jugs the fabric is usually finer and harder fired. Yet the

superiority in technique does not necessarily mean higher quality

products and certainly this pottery is far from being attractive

or pleasing to the artistic eye. Often the shaping is irregular,

handles being set crookedly or the base being quite off centre. Also the available shapes are rather uninspired, lacking vitality

or any striking quality. Another characteristic which readily dis-

sociates these vessels from the "A" class is the treatment of the

surface; being made of a finer fabric there is always a smooth

surface finish but often it is dull, left either smoothed in the

drab colours of the fabric - light red, grey, or dirty brown - or

covered over with a thin slip of similar colours. Mottling is rare. Sometimes there is burnishing but it is never lustrous and ornamentation is limited to the odd twisted or grooved handle.

The limited comparative material is useful, in determining a date

roughly to the end, or latter part, of the E82 period. The cari-

nated bowls no. 3. Bar. 56 (Fig. 77 ) are completely different from

Shape I bowls of Class A in the everted from of the rim and carinated

lower body. On these lines they may be likened to the Beycesultan

finds, Fig. P. 44, no. 22-24 in Level XIII or even to Troy. IVd. Fig.

182, no. 13-15. Small jars no. 4.5 and 6 (Fig. 77 ) are simple

vessels and similar to equally crude Troy, Ilg finds, Fig. 401, no.

37.988, no. 37.773 and no. 37.992. But such crude and indistinct

vessels can be found at all periods and do not really make reliable

comparative material., A number of similar finds belong to, the

earlier Thermi I-III, Pl. XXXV, no. 68; Pl. VIII, no. 195; P1.

XXXVI, no. 295,308. On the other hand, -two larger jars, no. 7.10

89

(Fig. -77) are almost identical examples of shape C. 28 pf Troy IIg.,

Fig. 401, no. 35.515 and Fig. 403, no. 35.486.. The latter is parti-

cularly close to Yortan no. 10. One further jar from the same phase, Fig. 387, no. 37.989, also matches Yortan no. 8 which can be res- tared to have a round loop handle and a side-spout. No. 11 jar,

pinkish in colour, with two vertically pierced lugs, has ,a tall

cylindrical neck and flanged rim which recall jars of Class A pottery. But a closer examination of the vessel reveals considerable

differences; on Shape III there are no pierced lugs but four small loop handles on the upper body, and neither is the rim pierced or

the fabric so refined and hard-fired. It may therefore be more

appropriate to compare no. 11 with the jars of Poliochni "Yellow".,

Tav. CXCIX-CCI. 90 Similarly, although there is a certain degree of

likeness between the jugs, no. 16 and 17 (Fig. 78 ),, and Shape VII-

IX of Class A. the technicalities of both shape and fabric are quite

different.

The last three vessels, no. 18s 19 and 20 (Fig. 79 ) are certainly the most diagnostic late E82 shape of the class. These pots

are usually described as "teapots" because of the side-spout and

the loop handle. All three are in the typical Class B pottery fab-

ric of a fine quality and light colours. No. 18 and 20 are the

finer products. The former teapot has a highly burnished red

surface, similar to that of the bird vessel no. 8 of Shape XIV.

No. 19 is thickly made and little of its brown slip remains over

the light grey fabric. According to Blegen's stratigraphy at Troy/

Hisarlik these vessels do not occur before the IIg phase where they

are shape B. 1O, Fig. 387, no. 35.436 and no. 35.481. Some rather

well preserved examples are also known at Karatag-Semayük. 91 Some

of these parallels have an extra loop handle on the axis of the

basket handle. A number of vessels in the Berlin Collection are

90. L. Berna6ý-Brea (1976) Poliochni II. 91. M. J. Mellink, 1964, AJA 68: Pl. 81g Fig. 20.

90

also certain to stand apart from the "A" class shapes. 92

But at

the time of this research their allocation into any particular class

or group could not be determined.

In summary, there are good reasons, both technical and stylistic, for identifying these twenty odd pots as a class of pottery separate

from that of the "A" shapes and perhaps a little earlier than the

"C" pottery. Naturally, in the absence of a local stratigraphy the

chronological limits and divisions ought to be understood as rather

tentative. One can be certain that none of these vessels is likely

to occur in the E81 period or in the earlier phases of the E82 but

nothing definite can yet be said over the exact duration of the

black and grey burnished shapes which in some cases may well have

lasted to the end of the EB2 in the Yortan region. It is also pos-

sible that a chronological rather than stylistic division between

"B" and "C" pottery is erroneous, that while some of the "B" vessels

continued to be made in the E83 period, such "C" shapes as the depas

or the trefoil spout may well have started already in the EB2 period.

92. W. Orthmann, 1966, Ist. Mitt. 16: Abb. 10 no. 1p 2p 39 5,9 6.9 7; Abb. 2. no. 14p 15.

91

CLASS C POTTERY

The remaining twenty vessels belong to a third class where tech-

nical and typological differences from the rest of the Yortan pottery are indeed very marked, leaving little doubt to their separate identity. Unlike Class A and B pottery, here the use of the fast

wheel is in good evidence and often the fabric is the finest produced at the site. Oxidisation is rare and black or dark grey

colours almost never occur. In shape, with a few exceptions, there

is hardly any spout., handle, or body form that may suggest affinities with the "A" types. The characteristic Shape VII-VIII or the

cutaway spouted jugs are now completely absent. Instead there is

a smaller jug with a very tall neck and beak spout. The handles

are always round in section and the base is distinctly flat, probably made by string cutting. The comparative material from Troy

Hisarlsk and Beycesultan shows a solid EB3 date which may for once

and for all settle the ambiguous question of the existence of post- EB2 material at Yortan.

No. 1 and 3 (Fig, 79 ; P1. XIV ) are wheel-made tankards

or depas., a hallmark of the late EB2 and EB3 pottery of western Anatolia. 93 The latter vessel is smaller in size and incomplete

at the rim. Its body shape is rather squat and rounded, otherwise

both tankards show the same characteristic features; the neck

flares open to a horizontal mouth and the two round loop handles

are set opposite one another providing a firm grip on the vessel

with both hands; a fine and hard-fired fabric is coated in a thin

red/orange slip which is mostly gone at the removal of a thick layer

of lime encrustation. This calcarious deposition on the pot surface

is often encountered with Class C and to some extent Class B pottery

93. For a study of the shape see P. Z. Spans, 1976, Depas amphikypellon, Ist. Mitt., Beiheft 6. No. 2 of Yortan is classified as Type III0 BI/13p p. 109.

92

possibly indicating that the location of the burials with the pottery was different from those with the "A" class pots. On this

point the available drawings of Gaudin are of little help. 94 The

depas A. 39 and A. 43 start in Troy lid and continue into Troy IV. Fig. 380, no. 36.743, from Troy IId is quite similar to no. I of Yortan. However, such single handled Troy III'examples as Fig. 68, no. 33.199 or Fig. 69, no. 33.191, are also rather close in

body shape, allowing an E83 date as well.

No. 2 (Fig. 79) is even more certain to be from the E83 period. The fabric has a very fine quality in a uniform light colour and a

metallic hardness. There are wheelmarks on the surface. An exact

parallel at Troy/Hisarlik or Beycesultan is hard to find but the

goblet form itself, the grooved lines on the tall neck, and the

ring base with a sunken middle section are obvious E83 features.

No. 4 and 5 (Fig. 80 ) are rather diagnostic by their trefoil

shaped spout which again does not occur before Beycesultan Level X

and Troy IIf and IIg. The latter jug is particularly refined with

very thin and hard-fired walls. Its provenance as Yortan is,

however, not certain. No. 4 is a coarser juglet in a uniform grey

colour. At Beycesultan Fig. P. 51, no. 60 7 in Level X are trefoil

or bifoil spout fragments. At Troy the spout occurs on shape 24 in

Late II Fig. 387, no. 36.1150, Troy III Fig. 720 No. 25.1158, Troy

IV Fig. 162, no. 37.904; 170, no. 15p and Troy V Fig. 248, no. 18,

which are really much larger vessels than the Yortan jugs.

No. 7 (Fig. 80' ; Pl. XIV ) is a small jug with a leaf shape

spout and has long been recognised as being different in data from

the rest of the Yortan pottery. 95 The smoothed surface is crudely

ornamented with incised and punctured dots and lines Which, together

94. See Chapter 1. p. 8

95. R. W. Hutchinson, 1935, Iraq 2: 214.

93

with the general form compares well with a Troy IUb jug, Fig. 161,

no. 36,709,

Several jugs with tall-beak spouts are also usually identified

as later in date than the Class A jugs. Two incomplete jugs, no. 11 and-12 (Fig. 81 ; Pl. XXI ) are added here to the well-known

no. 8 and 13 (Fig. 80,81; Pl«XIV, XXI). Once again a rather fine

fabric in a uniform red colour and a thin slip coating typify the

pottery. The single loop handle is always round rather than oval

or angular. Troy/Hisarlik provides the best parallels, all of

which date after the EB2 period. It is shape 8.20, Fig. 72p no. 33.154 or no. 33.179, in Troy lid and continues into Troy V. A

further number of jugs belongs to Schliemann's finds, Ilios no. 360-363 from the Third City, and no. 1149,1151,1154 from the

Fourth City. 96 Karataq-Semayük also gives several good examples

of the shape; two red jugs from Tomb no. 95 of the Main Cemetery

are particularly like no. 8 of Yortan. 97 One different feature of

these Elmali plain jugs is the presence of matt white painting over the burnished red surface. None of the°"C" pottery of Yortan shows this ornamentation which may have been abandoned or forgotten in

the North-west at the breakdown of the EB2 cultures. 98 If soy then

the Karatal finds need to be explained as the continuity of the

technique in this relatively remote part of south-west Anatolia.

Mellink is inclined to date Tomb no. 95 to the end of Troy II but

here a slightly later date in Troy III or the E83-period is preferred. 99

Two cutaway spouted jugs,, no. 9' and 10 (Fig. 800 81)ß

could be looked upon as rare evidence for a survival of the much

earlier Shapes IX and X. Both jugs are made of an extremely fine

96, H. Schliemann, opo cit. 97. M. J. Mellink, 1965, AN 69: P1.610 Fig. 130 14. 98. See Chapter 2p p. 1: 9 99. See Chapter 4. p. 111

94

and hard fired red/orange fabric. No. 9, is certainly the most

delicately manufactured vessel of all the pottery recovered at this

site. Two jugs with similar spouts are illustrated in Ilias no.

1161 and no. 1162 and reported to be frequent in the Fourth City, 100

A further example is at Aphrodisias in Complex II of the Acropolis 101

mound.

The flasks no. 14 and Ber. 36 are distinguished by the lentoid

body shape in very fine fabric and thin walls. The Berlin flask

has a horizontal mouth and two loop handles of the type found on

the depas. The tall neck of no. 14 ends in a cutaway spout and

everted rim, similar to the shape of no. 9 jug. The single loop

handle is gently twisted. The American excavations at, Troy/Hisarlik

did not apparently find this vessel, but there are some good examples

of it in the Schliemann Collection; Ilios no. 364 and no. 1113 are

said to be from the Third and Fourth Cities. 102 This late EB2 or

E83 date can be readily confirmed by the finds at Poliochni-"Yellow"s

Tav. CCX. 103 Though the shape is unknown in the repertoire of

Beycesultan, it does appear further south at KarataV. One flask

is from Tomb no. 41 of the Main Cemetery 104

and a second from Trench

66 of the megaron houses. 105 In Cilicia the lentoid flask in Red

Gritty ware is first found in the EB3 levels of Tarsus. 106

A small jug,, no. 6 (Fig. 80 )' with the horizontal spout cut

away above. the handle is perhaps the most convincing piece of evi-

dence for the existence of the EB3 burials at Yortan. " The shape

B. 23 does not appear before Troy Na., Fig. -162,. no. 37.881. At

100. H. Schliemann, op. cit., p. 551. 101. B. Kadish, 1971, AN 75: P1.299 Fig. 34. 102. H. Schliemann, op. cit. 103. L. Bernabt-Brea, op, cit. 104. M. 3. Mellink, 1964, AN 68: P1.820 Fig. 27. 105. M. 3. Mellink, 1971, AJA 71: P1.820 Fig. 42. 106. H. Goldman (1956) Excavations at Gözlü Kule. Tarsus. II,

Fig. 361, no. 557-559.

95

Beycesultan it is Shape no. 2? of Level Xq Fig. P. 512 no. 3.4 and is last found in Level VIII.

Among such fine products the presence of three vessels, no. 15,,

Bar. 27., no. 16, in rather coarse ware naturally comes as a surprise. They are hand-made, with none of the refined technique of the class. The missing upper parts of the former two jugs makes it almost impossible to ascribe them any definite identity. They are clearly

outside the'"A" class repertoire. The indecision is between a "B"

or "C" date.

No. 17 is a wheel-made grey cup in fine metallic fabric. Un-

doubtedly-it is later than the EB2 pottery of the West. The unbur-

nished surface is slightly scarred with fine parallel lines which

may be the markings of a comb-like tool used in the smoothing pro-

cess. The small loop handle is flat and very broad, quite unlike

any other handle of Yortan. ' Shape A. 36 in Troy IVc and d could be-,

a related shape, but more exact parallels are missing.

Finally a pair of human legs, no. 18 (Fig. -83 ; Pl, xx

appear to belong to a vessel`possibly anthromorphic, and in its

fine quality fabric could also be considered as Class C. Judging

by the surviving fragments, it was made'in a naturalistic and not

schematic fashion. On the feet the toes and ankles are clearly

shown. Pl. XX , no. 18., shows a small bowl-like object. This is

certainly an inaccurate restoration of the surviving fragments. The

top of the right leg is sufficiently preserved to indicate the curvilinear base of the upper parts of the object. Also the inner surface

of this part of the leg is seen to have been left unsmoothed which

proves that the feet belonged to a closed vessel and not to an open bowl. A similar left foot was found at Beycesultan Level X. Fig.

P. 56p no. 7

96

SUMMARY

P. Gaudin excavated systematically and was also careful in the

recording of the finds, alas only to be wasted or lost after his

death. Today it remains quite impossible to relate all the objects to individual burials. Among the bowls, no. 1 and 2 (Fig. 23 )

could be from pithos no. 48 (Fig. 5) or the lentoid flask no. 14

(Fig. 14) from pithos no. 94 (Fig. 7 ),, but these are the few

exceptions. The cemetery could have been used at all times without

any one spot containing the burials of one period or phase of the

Early Bronze Age. on the other hand it is also possible that certain parts, is, to the South of the Kirka5aq - Kelembe road, hold

only those tombs with the "B" or "C" class pottery. In any case

as an archaeological rule the burial grounds and the tombs themselves

are unsatisfactory for stratigraphic observations. The method of

studying the finds of Yortan has, therefore, been a comparative one. An observant eye would be quick to note some of the marked changes in the making of this pottery. The underlying principle of the

research has been first to observe these changes and try to explain them in terms of cultural assemblages and relative dates through the

stratified deposits of western Anatolia. Naturally this is not a

perfect way of bringing any site into the full light of prehistory; but as long as there is a lack of adequate stratigraphic investi-

gations. of the settlement sites it is the only. means available for

a better understanding of Yortan. Also, with all the drawbacks of

such a purely comparative analysis in mind, some of the results need

not be doubted at all, while a good deal more appear to be quite

plausible. For example, it is obvious that the cemetery does not

contain anything that exceeds the Early Bronze Age period, at least

97

not in the excavated area. 107 It is also certain that almost the

whole of the Early Bronze Age is represented by the potteryoWand the proposed three-fold classification - A. 9 8p C- corresponds

roughly to the E32 and E83 periods. Less certain and more like

tentative suggestions are the more exact definitions of the indivi-

dual shapes and types which in turn contribute to a further refine-

ment of the chronological limits.

By far the largest material is the "A" class pottery in three

main types - bowls, jars, jugs - with a further sub-division into

some sixteen shapes. A vigorous comparative breakdown of the mate-

rials summarised on Table 1. establishes a firm E82 date of western Anatolia, or more specifically the sequence of Troy I-III Thermi

I-IV and Beycesultan XVI-XIV. Such vessels as the carinated bowl

with a simple tubular lug (Shape I)y small jars with short collar

neck (Shape IV), or jugs with obliquely cut spout (Shape VI-VII)

are well-known and widely recurring types. Considering that on the

one hand are a number of sites known from the material remains of the living and on the other possessions of the dead, not every shape

of E82 western Anatolia can be found at Yortan; but this in no way

weakens the argument based on these parallels and equations. The

Yortan pottery is basically a selective group of pottery excluding

such domestic wares as cooking pots or storage vessels, but still because it was selected by the living people from their own pottery industries it ought to represent, at least in part, the contemporary

pottery repertoire. The numerous parallels cited are proof of this

view. What the Yortan pottery cannot show is a full repertoire of the Early Bronze Age of the North-west. For such a detailed knowledge

107, P. Gaudin excavated several trenches on the nearby mound of cavdar Tepe (see Chapter 1s P. 7 ). The plans show three pithoi, but the meaning of these finds is not entirely clear. One of the pithoi is shown in a lying position with the mouth facing south. If a burial, then it ought to belong to a period later than the Early Bronze Age.

98

many more of the settlement and burial sites need to be excavated. A few important omissions at Yortan can be found among the finds of

other burials of the area. One such missing shape is the bowl A. 6

of Troy I. Fig. 238,253,254, and Thermi Class As Bowl 5a, and Class B Bowl 8.5. It is a bowl with straight or curving sides and the thickened rim inside forms a band-like surface which is sometimes decorated in incision. Fig. 89. no. 2., 3s 5s 6. illustrate several

examples from the robbed pithos burials of the Balikesir area.

Thermi and Troy/Hisarlik are of little help in establishing the

earliest occurrence of the "A" class shapes. Both sites are thought

to be contemporary in their earliest levels which begin on the virgin soil-without a trace of the preceding period. Kumtepe is the only

site with some relevant material. Kumtepe Ic has long been established as a contemporary of Troy I where most of the parallels to

the Yortan pottery are to be found. The earlier Kumtepe Ib deposits

contain none of the pottery found at Yortan. The inevitable conclu-

sion has therefore been that the earliest date for the Yortan burials

is from Kumtepe Ic or Troy I phase of the Early Bronze Age. Further

support may be found in the fact that this Kumtepe Ib type pottery is also widely known on the settlement sites near Yortan and that

had it been contemporary with Yortan some elements of it ought to

have appeared in the shapes of Class A.

Despite this apparently secure position for the upper limits of Yortan it is felt here that some aspects of the question need to be

examined with a more critical approach. Thus., what has been called the Kumtepe Ib type pottery is actually solely determined from quite

small soundings on this rather small mound on the fringes of the

Troad, and it seems not unreasonable to view the site and the re-

covered material with some caution as perhaps not fully representa-

tive of the culture concerned. The plains further south of the

Troad are actually richer in Type Ib material and may well be the

99

centre of the"culture. 108 Furthermore, the "A" class pottery of

Yortan and the parallel finds at Troy I and Beycesultan XVI appear

in a fully developed stage of production, and since no other region

of Anatolia can be pointed out as the origins of the shapes present

there is a reasonable case for suggesting that the pottery developed

in the area of the Yortan Culture and the "A" class does not repre-

sent the earliest stages of this development. The so-called Kumtepe

Ib phase must be a part of the development which was not quite

recognised at Kumtepe itself. According to the adopted Troy-Yortan-

Beycesultan synchronisation, Beycesultan EB1 levels are contemporary

with the Kumtepe Ib phase but without signs of strong contacts.

The fragment of a cutaway spout and a small jug with obliquely cut

spout in Level XIX are notable. Such jugs are not found in Kumtepe

Ib and the former shape is rare even in Troy I. If these finds are

not contaminations from the upper levels then they provide some

evidence in support of assigning some"of the Yortan shapes to the

earlier EB1 period. Indeed, outside Anatolia the characteristic

jug'with obliquely cut spout does appear in deposits recognised as

preceding Troy I pottery; at Poliochni it is in the Black and Blue

periods with Kumtepe Ib bowls, and at Ezero from Horizon XIII on-

wards. Similarly the Yortan tankards (Shape XIII) could be compared

with the vessels of the EBI or even Late Chalcolithic of Beycesultan.

In short these observations may suffice for expressing some caution

over the accepted affinity of the Kumtepe Ib phase pottery to that

of Troy I; at Yortan the earliest of the burials are, for the time

being, seemingly certain to be roughly contemporary with the found-

ing of the site at Hisarlik and on Lesbos, but there is the possi-

bility of some of the shapes, is. carinated bowl, jugs with obliquely

cut or cutaway type spouts, or the askos, having earlier beginnings

in the so-called Kumtepe Ib phase or Beycesultan Level XIX-XVII;

the jug with obliquely cut spout could, for example, belong to a

sequence of development not too different from that of the carinated

bowl which in its sharply angular Troy I profile has its beginnings

108. See also Chapter 4., p. 107

100

in the rolled or slightly incurved rims of'Kumtepe Is and Ib.

Returning to the question of a final date for Class A pottery,

most of the parallels do not suggest survival later than mid-Troy II or the end of Beycesultan Level XIV. Class B pottery is indis-

putably the late E82 material of the site. In particular the

"teapot" no. 18-20 (Fig. 79 ) is a good example of this date.

Nevertheless, several odd finds and some'typological observations

do indicate the possibility of at least some of the "A" shapes

lasting throughout the period and being found together with the

"B" class vessels. For example, bowls no. 8 and 9 (Fig. 24 )

are carinated with a horizontal loop handle, a feature which does

not start before Troy II. The only uncertainty over this parallel

is that most of the Troy II bowls are wheel-made and much deeper in

body. The case of the bird-shaped vases, which are found at

Karatal-Semayük together with the "teapot"s is more certain. On

less certain terms one may detect a typological development in a

number of shapes, through the EB2 early, middle and late phases.

Among the jars with tall neck, Shape III, several are noted for

showing uniformity in overall colour in lighter tones, less mottling

and sharper outlines which could be thought later than the more

rounded and dark burnished examples. In Shape X those jugs with

taller and shallow cutaway spouts of group four (Fig. 58-60) come

near to resembling the tall beak spouted jugs of the E03 period and

may also be later than the shorter spouts. Another such possibility

is the jug type no. 26-31 of the same shape, with a cutaway spout

form where the top part is cut to slant towards the front of the

pot. The matt white painting on these jars and jugs need not be an

obstacle for a date in the late EB2 period. It is correct to ob-

serve that this method of decoration is largely absent in Late Troy

II and Beycesultan Level XIII; but it is so at all times at either

site and the method may well have had a more popular and persistent

use in the Yortan Culture.

Consequently it seems correct to place most of Class A pottery

in the first half of the E82 period but also to keep an open mind

101

about the possibility of some of the shapes continuing to the end

of the period. As far as the stratigraphy of western Anatolia stands Class B vessels are best put to this latter part of the period as

well but the upper limits in relation to Class C pottery should

also be kept fluid. Compared with Class A jars and jugs the dif-

ferences in shape., ware and ornamentation of these "C" vessels are immediately obvious and need no further qualification. Rather close

parallels at Troy III-IV and to a lesser degree at Beycesultan give them an EB3 date but perhaps not so late as Troy U. The distinction

between this and "B" material is less outstanding and some degree of

merging in certain shapes is conceivable. The jug with the spout

cut away above the handle, the light grey goblet with grooves, or the lentoid flasks are EB3 beyond doubt while the tankard or depas,

or the trefoil spout., could start at an earlier date among Class B

vessels. Thermi on Lesbos is completely without "8" or "C" shapes.

Since Town I-IU are strongly connected to Class "A" pottery of the

North-west, this absence of the "late" Yortan pottery tends to

favour the end of the settlement falling quite short of the and of Troy II.

This chronological assessment of the pottery allows a lifespan

of well over 1000 years for the cemetery of Yortan. In comparison

with such a prolonged use of the grounds the finds are not large in

quantity and there is an unequal representation of the different

phases of the Early Bronze Age. Possibly the use of the site was

not continuous and there was a break at the end of the E82. At the

same time it must be pointed out that the excavator's notes make it

clear that not all of the burials were uncovered by Gaudin; some

were robbed by the locals while a good many pithoi may still lie to

the Korth and South of the Kirka6ac - Kelembe route. It is also

within reason to take the one hundred and seven pithoi as belonging

to a small community of a nearby village site which came to be

founded on the expansion of the settlements in the nearby fertile

plains towards the and of the EB1 period and which lasted until

towards the end of the EB3 period.

I SHAPE BOWLHno. 5.6

I BOWL no,

I 81

SHAJARIII I SJUGLETI SHAPE JUG

-VIII

Fig. 261, no. 16

Fig. 259 Iej fj gp hs j Fig. 263 Fig. 258, Fig. 163 1d

no. 36.692 -- 7< Ln,

no. 35,575 no. 35.513 no. 35.429

no. 350,641 Fig. 239 no. 23,24 I In0' J0'071 I no. 35.540; no. 35.541

no. 36.539 Fig. 236, no. 29,322 34 no. 36.840

Fig. 235, no. 2

no. 353 no. 321

no. 36,686 1 Inö. 36.760

no. 36.689

no. 411 no. 410

no. 249s, 250 no. 196,9 200s 201

no. 113,114

no. 36.843 no. 36.676; no. 36.735

no. 413; no. 419 no. 327; no. 328

no. , 288

no. 233; no. 253

no. 140 Ino. 161 no. 126

no. 556. # no. 18j, 70

xvi

XVIc

XVII XVIII

XIX

TAE I

Fig. 412 no. 29,34

no. 35,649

no. 287

no. 204

103

CHAPTER 4 CHRONOLOGY

A precise time-scale for any archaeological deposit is deter-

mined either by scientific dating (C14) or by the historical dates.

Neither are available at Yortan itself, and it has therefore been

essential to outline the position of the site as clearly as possible

next to the rest of western Anatolia. Yet this laborious comparative

study could only produce a relative date since none of the three

main sites is itself furnished with absolute chronology. 1 The

scientific dates in western Anatolia are available from only two

sites, Aphrodisias and Karata? -Semayük, while the latter have to

be derived from Mesopotamia and Egypt via the finds of Tarsus-GÖZlü

Kula in Cilicia. In this respect the central plateau with its

earliest written records of Anatolia at large is very important.

But the research into deeper prehistoric levels of such important

sites as Kültepe or Karahüyük/Konya has yet to reach a level where

solid correlations with the West are demonstrable. 2 In the meantime the stratigraphy of Tarsus continues to be almost the only inter-

mediary grounds between the historic East and the prehistoric Aegean.

In other words, at the present state of Anatolian archaeology there

exists over the immense peninsular of Turkey a handful of excavated

sites, placed widely from one another and which must be correlated internally into an overall pattern of relative chronology that can then be pinned down onto an absolute scale. A reverse method where the absolute dates are used to synchronise levels and sites is as

1. Several C14 dates from Beycesultan are generally rejected as being too low. See S. Lloyd and J. Mellaart (1962) Beycesultan Ij p.

+19 (Level XXXIII) 3014 ± 50 BC, and p. 75 (Level XXVIII)

2740 ± 62 BC. Also M. 3. Mellink, 1964, AN 68: 304. 2.0. Easton, 1976, An. St. 26: 157 made a brave attempt at cor-

relating the sequence of Karahüyük/Konya with those of Tarsus

and Troy. Twenty seven levels of this important site are yet to be published, and one cannot draw conclusions on the general remarks of the excavator. 3. Yakar, 1979, An, St. 290 outlines the weaknesses of the material.

104

yet unreliable due to the imperfection of, the method itself (C14)

and to the inconsistencies-among the dates. It may perhaps become

a primary method of dating when many more sites are scientifically investigated and many more consistent dates obtained.

Besides the rarity of the stratigraphically investigated sites,

several defects inherent in the existing material complicate the

matter further. For example, it is not often realised that at Beycesultan, a huge mound ca. 7-5 m in height and ca. 1 km long at the base, the Late Chalcolithic and Early Bronze Age periods are known only-from a small sounding, S X, 3

which at the lowest Level

XXXIX measures no more than ca. 5mx5m. Moreover, Level XVII-

XIII, that is part of the E91 and the whole of the E62 periods, cut, through a series of complexes best interpreted as shrines and the

pottery from them could be regarded as being selective. 4 Thus, it

is very possible that the contents of these levels are somewhat limited, allowing only a brief glance into a much larger repertoire. The second vitally important site of Troy/Hisarlik on the other hand

has often been over-emphasised for its truly crude material, that

being a direct. result of the site's identification with the mythical

city of Troy. 5 When first proposed by Schliemann the idea was not

widely accepted.. Today the reverse is true with the unfortunate

outcome that the sequence and finds of the site tend to be viewed

with a biased approach where there is an unconscious or conscious

assumption of its supremacy over other sites. It is hoped that one

result of this study has been to undermine this bias further, and

3. S. Lloyd and 3. Mellaart (1962) Beycesultan I. p. 18# Fig. 3. 4. However, M. 3. Mellink does not accept these buildings to be

"shrines". See, 1964, A3A 68: 304. 5.3. Mellaart has now raised a strong voice against this largely

unnecessary identification. See, Troy, a re-assessment, Trans-, actions of the IV International Colloquium on Aegean Prehistory, 1977. Sheffield. On that occasion the author was also able to raise similar objections. Throughout this research the "mythi-

cal" and geographic name of the site, Troy/Hisarlik, has been used.

105

in a way reverse it in the direction of reviewing this small mound

on the Troad as merely a prehistoric site which might have come into

existence on the expansion of the inland cultures of the North-west.

The American excavations under C. W. Blegen were scientific and are

adequately published; but already much damage had been inflicted

on the deposits by the pioneering work of H. Schliemann and of his

other successors, and Blegen was left to work out a full stratigraphy from a number of small areas.

6 Thus the results are often unsatis-

factory and a large number of finds from the preceding excavations just float precariously between levels or "Cities". Possibly one'-

day all the material will be assembled into a more coherent body of

finds. Meanwhile one must be content with what there is and without

synchronising these two major sites the question of, absolute chrono

logy cannot be undertaken.

A convenient starting point may be where there is for once a

general agreement that the end of Troy II coincides with the end of

Beycesultan Level XIII, and the EB3a in western Anatolia starts in

the succeeding Troy III and Beycesultan Level XII. At Yortan Class

C pottery is ascribed to this period. For the earlier EBI and 2

levels, however, no'such generally acknowledged correlation exists;

and'it is perhaps to this point that the analysis of the Yortan "A"

pottery makes a significant contribution.

At the-publication of the Beycesultan excavations J. Mellaart

initially offered the following equation: 7

EB1 Beycesultan Level XIX - XVII

EB2 Beycesultan Level XVI - XIII

Troy I

Troy II

D, French in his study of the prehistoric remains of north-west

Anatolia used this chronology suggesting that most of the Yortan

6. D. Eastons 19762 An. St. 26: 147. 7. S. Lloyd and J. Mellaart, op. cit., p. 147.

106

pottery falls into Troy II. 8 Then at the publication of Poliochni

on Lemnos and of the preliminary reports of the Karatac-Semayük

excavations 3. Mellaart altered his view and proposed a shorter span for the Troy/Hisarlik sequence:

9

EBI Beycesultan Level XIX - XVII

Beycesultan Level XVII - XV

EB2 Beycesultan Level XIV - XIII

a

w

n

Kumtepe Ib

Troy I

Troy II

With some minor alterations D. Easton adopted this synchronisation, but more recently 0. Yakar went back to the earlier suggestion, basing himself on the publication of the Kumtepe excavations.

10

Our analysis of the Yortan pottery is clearly in favour of 0.

Mellaart's revised synchronisation, and to argue to the contrary

would need a number of highly unlikely assumptions; thus if Troy

I is to be equated with Beycesultan Level XIX-XVII then the Yortan

"A" pottery, which has strong affinities with Troy I but not with Beycasultan EB1 levels, has to be viewed as belonging to a site

geographically poised in between the two sites and yet with very

slender links to Beycesultan; in the following phase the position is reversed, and while Yortan "A" pottery is strongly represented in Beycesultan Level XVI-XIVO there is relatively little in Troy

II. Obviously this is an unsatisfactory arrangement of the material

and more a way of forcing a pre-conceived idea upon the evidence. There is reason to believe that after a prolonged development of the pottery in the area of Balikesir, stronger contacts came to

be established with the South-west and with further North-west. "

It is quite unfounded and unnecessary to see the Troad as the centre

of the growth and spread of this pottery; or to be more specific,

having now come to full grips with the pottery of Yortan there is

S. 0. French, 1969, An. St. 19: 560 57p 65. 9. J. Mellaart, 1971, Studia Balcanica 5: 119 ff.

10. J. Yakar,, 1979s An, St. 29: 57 ff. 11. See Chapter 5sp. 1'50

107

surely just as good a case for arguing that the Yortan Culture was

a point of diffusion which by the E81 period had reached the Troad

coast and Beycesultan in the opposite direction,

The position of the Kumtepe Ib pottery is as yet hard to assess. No doubt this is the material that underlies the Yortan pottery and is best known for its rolled rim bowls. The typical carinated bowl

of Yortan and Troy I appears in the Ib 4 phase after a long develop-

ment starting in Ia. 12 No other Yortan shape has been recognised

in the Ib phase. This could, however, be accidental. It is quite

unlikely that such Yortan shapes as jars of Shape II, III, or jugs

of Shape VII-VIII would have appeared suddenly without a trace in

the ancestral Ib phase. J. Mellaart has also expressed similar

doubts, pointing out that in the pre-Troy I "Black" and "Blue" of

Poliochni there are Ib bowls as well as other shapes such as the

jug with obliquely cut spout and its askos version. He suggested

that because of these shortcomings of the Kumtepe material, the name

of the culture (Kumtepe Ib) might eventually be changed into some-

thing else, 13

If this review of the Kumtepe material is correct

then here may be the answer for the difficulties of synchronising it with any site, in Anatolia and the Aegean. As far as the recog-

nised shapes go it has quite a wide distribution over to west Thrace

and East Macedonia, 14 but in no level of Beycesultan can it be

identified with satisfaction. Possibly at this time the Gediz

valley formed the southern limits of the north-west pottery with

with little or no extension further south while the Beycesultan

Late Chalcolithic north of the Gediz has been recognised only at

Kayilslar and Pajaköy. 15

Kumtepe Ib bowls occur on Chios but further

south Tigani of Samos is closer to Beycesultan. 16

12, See Chapter 3.9 p. 13.3. Mellaart, 1971, Studia Balcanica 5: 120. 14. D. French, 1961, An. St. 11: 112 ff. 15. Ibid. 16. Ibid. Also 3. Mellaart (1962) Beycesultan I, p. 107.

108

In his long overdue publication of the Kumtepe excavations, 3. W. Sperling takes quite a different line of equations and places the beginnings of Troy I back to the Late Chalcolithic 4 of Beyce-

sultan. 17 It is a weak synchronisation based on only a few odd

shapes. As Sperling admits, the contemporaneity of Ib and Beyce-

sultan Late Chalcolithic 3 cannot be observed among the finds and the carinated bowls of the latter site "seem vaguely related in

style" to the Ib fragments. Better demonstrated, he goes on, is the equation of Troy I and Beycesultan Late Chalcolithic 4. which

again is based on a number of fragments only, without taking into

account the rest of the pottery. One shard of Troy I bowl A. 5 (Fig. '259) with a vertical handle is compared with a rather small fragment in Beycesultan Late Chalcolithic 4.18, Two other fragments

of the Troy I bowl are actually in different shape. 19 His second

comparative shape, A. 6 bowl, with flaring sides and rim thickened

inside, occurs in Kumtepe Ic but not at Beycesultan, though he

considers one bowl in Level XX, Fig. P. 12, no. 35p and a second in

Level XIX, Fig. P. 14, no. 1. as similar in shape. Thirdly, the

carinated bowl (Troy A. 12) of Beycesultan Level XIX-XVII is des

cribed as rounded in profile, ignoring those with angular carina-

tion., 20 and therefore more like the Middle and Late Troy I examples,

so that the beginnings of Troy I should fall to levels earlier than

Level XIX. Throughout his argument Sperling takes a rather narrow

vision of the shapes and wares involved without explaining the many

contradictory sides of his conclusions. Here is also a good example

of interpreting Troy/Hisarlik as a site where the appearance and

disappearance of various elements are of primary importance over the

rest of western Anatolia and the Aegean. Why could the carinated

bowl not have originated elsewhere, perhaps in the Yortan Culture

17, J. W. Sperling., 1976, Hasp. 45, no. 4: 357 ff. 18. S. Lloyd and J. Mellaart (1962) Beycesultan I, Fig. P. 13,,

no. 10. 19. C. W. Blegen (1950) Troy I Fig. 254, no. 27,, 29. 20. S. Lloyd and J. Mellaart, op. cit., Fig. P. 149 no. 20-23;

Fig. P. 15., no. 28j, 29.

109

area,, and reached the Troad coast at a later date?

Naturally the synchronisation of the two major sites via the Yortan pottery cannot deliver the final verdict but at least

it has the advantage of offering the least contradictory scheme

within the known facts of west Anatolian archaeology. Moreover,

Thermi on Lesbos allows a certain degree of cross-examination of the results. Even before the publication of the American exca-

vations, W. Lamb was able to compare Troy I with Thermi I-IV,

and there is now abundant material showing that even better parallels can be drawn with the Yortan, "A" pottery, and indirectly with Beycesultan Level XVI-XIV, Thus, all three sites, with Yortan in

the middle can be locked into one roughly contemporary unit as the EB2 period. A more problematic aspect of the Thermi sequence. is defining the limits of Town IV-V, or the end of the Early

Bronze Age period at the site. The excavator was in favour of a final date before the and of Troy 11,21 but a longer sequence has

also been considered. 22 Basically the difficulty is in the rarity

of comparative material from the "C" phase. Among the diagnostic

shapes are fragments of the face jar and sauceboat. 23

The latter

vessel is a, familiar feature of the Early Cycladic and Early Helladic.

It is found in the Keros-Syros culture and is the type artifact

of Lerna''II (EHII). 24 At Troy/Hisarlik the shape is best known

for the silver cup in IIg. It is also found with the Urfirnis

sherds in Blegen's Middle Troy I phase. The stratification of

the latter finds is, however, uncertain, involving the important

question of tying up the Early Helladic sequence with the Early

21. W. Lamb (1930) Excavations at Thermi on lesbos. p. 210. 22. D. Easton, op. cit., p. 155. 23. W. Lamb, op. cit., Pl. XIII. 24. J. L. Caskey, 1960p Hasp. 29: 290.

110

Bronze Age of Anatolia. 25 Whether the EHI starts in Troy I or II,

the existence of the sauceboat at Thermi only proves that the

occupation of the site lasted to the end of Troy I or into the

early phase of Troy II and not necessarily the full length of the

EB2 period. In any case, there is always the possibility of the

vessel reaching Lesbos before the Troad coast. The face urn (Troy

D. 13)ß which seems to be an Anatolian feature, is first found in

Troy IId, 26 and later in IIg. 27 Otherwise, Thermi is without any

of the well-known Late E82 or EB3 material, the wheel-made pottery in general, perhaps, being the most significant absentee. The

Yortan synchronisation is in support of a short E82 phase at the

site; in Chapter 3 many parallels drawn between Thermi I-IV and

Yortan "A" pottery make it quite clear that the island was within

the cultural sphere of the opposite mainland in the first half of the E82 period., but neither, Class B or C pottery of Yortan can be

distinguished in Town IV or V. which, on the assumption that Lesbos

remained close, to the development of the, mainland pottery, must mean that this late EB2 period is not present at the site.

The accommodation of Karataf-Semayük and Aphrodisias into the

north-west sequence is less troublesome, though firm conclusions

must await the full publications. According to 1. J. flellink, Level

I-V of the small mound and some of the burials fall into the Troy I

period. 28 It is not a widely accepted view, others preferring a

longer or later sequence where Level I-V overlaps into Troy II and

25. The position of Blegen's so-called EH sherds in Troy I has long been in dispute, and cannot really be solved to everyone's satisfaction until fresh deposits are examined. We tend to agree with those who are familiar with the material and consider it to be out of context. See 0. French, 1961, An. St. 11: 119 ff. and 3. Mellaart, 1971, St. Bal. 5: 124 ff. But also S. S. Weinberg (1971) Chronologies in Old World Archaeology, ed. R. W. Ehrich., p. 303, and D. Easton, op. cit., p. 151 ff.

26. C. W. Biegen (1950) Troy I. Fig. 405, no. 37-1033. 27. Ibid., Fig. 405, no. 11-339. 28. M. 3. Mellink, 1968, AJA 72: 259.

111

some of the finds exceed the end of the E92 period. 29

Obviously

without the final publication it would be unwise to dispute the

excavator's tentative conclusions, but since the present synchronisation of Beycesultan and Troy/Hisarlik is different from that

accepted by Nellink some re-adjustment of the levels is inevitable.

On the whole, the parallels to Yortan are not many but there is

enough. to suggest that at least some of the "A" shapes are similar

and probably contemporary. Such other shapes as the depas or teapot

are late EB2 material showing that the large, sprawling cemetery

conceals a long E82 sequence but it is difficult to imagine the same duration for the small'settlement point of the central mound. The

present choice is, therefore, for a beginning of the small mound in

the first half of the EB2 but perhaps not from its earliest stages. Some of the tombs and megara must fall into the late E82 but the

end of Level V should not be prolonged to such an extent. Such

tombs as no. 1.41s 95.9 and the megara in Trench 37 and elsewhere

with wheel-made plates, depas, or the lentoid jug, bring the

Karataq sequence into the E83 period or Beycesultan Level XII and Troy III.

There is far less published material from Aphrodisias, hence

greater reliance on the tentative remarks of the excavator. B.

Kadish describes the earliest finds at Pekmez Level VII as contem-

porary with the Late Chalcolithic 4 of Beycesultan. 30 On the Acro-

polis mound there is a much longer sequence of occupation than at Karataq, unfortunately limited to small soundings. Complex XI is

said to have dark incised or matt white painted pottery. These

burnished wares last until Complex VIII-VII where the wheel-made

29,0. Mellaart, 1971, St. Sal. 5: 122 ff., suggests a continuous sequence from the beginnings of the EB2 period up to the EB3, or in between Beycesultan XVI and VIII. D. French, 1969, An. St. 19: 570 is in favour of an EB2 or Troy II sequence with the and of Karatat EB2 coinciding with the end of Troy II.

30. B. Kadish, 1971, A3A 75: 138 ff.

112

pottery appears. 31 In Complex VI stacks of the characteristic

wheel-made plates are found. The appearance of the potter's wheel in western Anatolia is problematic. The earliest evidence of, it-' is in Troy IIb, but at Beycesultan it appears at a much later date in Level XIIIa, the last phase of the EB2 period. Such a wide gap is difficult to account for. Perhaps future research will alter the "facts" in favour of a more uniform distribution. The techno-

logy could have reached the area from the East or it could have had

an independent evolution in the West from the simple turn table. 32

Meanwhile, one could assume that at least in the South-west there

ought to be some proximity in the occurrence of the device at

various centres, and that Complex VII of Aphrodisiac should not

stand too far apart from 8eycesultan Level XIIIa. In Kadish's

reports more is said for Complex II which contains Troy II-IV and Beycesultan Level XII shapes such as the teapot, dipper, cooking

pot or a small jug with ribbed neck. 33 One illustrated jug is

identical to no. 9. (Fig. 80 ; Pl. XIV) of Yortan Class "C"

pottery. 34 In the succeeding Complex I there are idols and volute

features of Troy IV-V and Beycesultan EB3b. In Complex 8 and C

the Middle Bronze Age is reached.

Having outlined a system of relative chronology for the Anatolian

sites there remains the straightforward task of transforming the

frame onto an absolute time scale. From Level'II of the'Karatal-Semayük

mound a number of charcoal samples give a round date of c. 3000 BC35

which should then pin down a part of the Yortan "A" pottery and of the EB2 Beycesultan but not the earliest phases of the period. A

second and much higher point is provided by the Pekmez mound where

a date at c. 4350 - 4060 1 70 BC stands for Level VIId36 or the Late

31. B. Kadish, 1971, AN 75: 138 ff. 32. P. Warren, 1969, Antiquity 43: 224 ff. 33. B. Kadish, op. cit. 34. Ibid. 35.1966, Radiocarbon 8: 352 ff. For calibration, see D. Easton,

1976, An, St. 26: 170. 36.1975, Radiocarbon 17: 205. D. Easton, op. cit., p. 169.

113

Chalcolithic 4"of Beycesultan. - The beginnings of Yortan may then

lie somewhere in between these dates, ca. 3500 BC would be a

reasonable guess. A more recent set of dates is now becoming avail-

able from the Demirci HUyük excavations. The exact position of the

Late Chalcolithic and Early Bronze Age levels between Phase E and Phase P has yet to be established; but it has already become

obvious that this site occupies an important fortified position between western and central Anatolia, with a deep stratigraphy extending back to the Late Chalcolithic of Beycesultan. In Phase P

and K nine consistent C14 dates range between c. 3420 and c. 3750 BCC

thus in absolute agreement with the high chronology of the scientific dating. 37 A further and rather convenient confirmation of

such early beginnings for the Anatolian E92 is from Bulgaria at, Ezero; the transitional Horizon VIII-VII is noted for the appear-

ance of new elements that are found in Troy I or the EB2 of north-

west Anatolia. In Horizon VI-V these elements are well established

and continue into Horizon IV-III. The excavators then offer the 38 following synchronisation:

Ezero Horizon VIII-V

Horizon IV-III

0

s

Early and Middle Troy I

Late Troy I

Troy II pottery is found in the top two horizons, A number of C14

-dates from Horizon VII centre around c. 3400 BC with the seed samples

giving c. 3340 1 BC. 39 This is in agreement with the Anatolian dates

allowing enough time for the north-west elements to spread into the

Balkans. Higher up in Horizon IV the seed samples are

37, M. Korfmann, 1978, An. St. 28: 18. 38. G. I. Georgiev, N. J. Merpert and G. 0. Dimitrov (1979) Ezero.

p. 542. 39. Ibid., p. 518. The Aegean dates are also within these limits,

though the value of these absolute points is reduced by the absence of solid comparative material with Anatolia. The EHI of Eutresis gives c. 3400 t 75 BC, and Sitagroi IV c. 3380,1 100 BC and c. 2960 1 100 BC.

114

c. 2950 ± 80 BC, 40 which may be taken as a round date for the end of

Troy I or the first half of the EB2 period. 41

Lower down the scale the next set of dates is from Complex IV

and II of the'Acropolis mound., Aphrodisias. In Complex IV the char-

coal samples range between c. 2500 ± 86 and c. 2120 ± 55 BC, 42 and

in the more recent Complex II the seed samples which yield more

reliable dates than wood are c. 2150 ± 59 and 2060 !. 55 BC. 43

Yortan Class B and C pottery may than be placed roughly in between

2500 BC and 2100 BC. The rest of the divisions have to be worked

out by pure guesswork and need not be pursued further. It would be quite rash to place too much reliance on these scientific dates.

A glance at the available dates is enough to spot the many inconsis-

tencies, sometimes even within the samples of the same stratum. On

the other hand they do provide a broad framework that is in agree-

ment with the archaeological conclusions.

Returning to the synchronisation of western Anatolia and Cilicia,

again one`. is confronted with the unnecessary complication of facts

due to inadequate or incomplete research of the two main sites, Mersin- Yümük Tepee and Tarsus-Gözlü Kule, the latter having the

better stratigraphy which still appears to be quite oversimplified

and in need of a thorough revision. What seems to be certain is

that Cilicia had at all times maintained pottery cultures that were

distinctly different from those of the West and under the influence

of central Anatolia and northern Syria. Thus when at ca. 11.5 ma large quantity of distinctly west Anatolian elements appears it

makes a startling change from the local wares and is interpreted as the beginnings of a new period, E83. The tankard, or depas, the

40, Ibid. One charcoal sample gives c. 3390-3000 ± 80 BC. 41, c. 2950 ± 64 from EHII Eutresis is in favour of the EHII

beginnings starting in Troy II. 42.1.971, Radiocarbon 13: 369. For calibration, see D. Easton,

op, cit., p. 169. 43. Ibid.

115

fluted depas, wheel-made plates, bell-shaped goblet, or dipper, are typical among the new pottery. In the words of the excavator, the-

change "between E82 and EB3 is striking and indeed dramatic in its

Implications". 44 Among the wares that have disappeared is the charac-

. teristic incised, cross-stitched Red Gritty Ware. Destruction is also reported.

While there can be no doubt about the west Anatolian origins of the so-called E83 Tarsus, it remains an unsettled problem whether the EB2 or E83a of the West is the contemporary period.

45 The

final solution must await further fresh material; meanwhile the

available records appear to make better sense if the end of EB2

and the beginnings of the E83 are considered contemporary with the

beginnings of Tarsus EB3. Such Troy shapes as A. 11,120 163 182

44, and the volute features that are found in Tarsus E83 actually belong to Troy III-IV and not to Troy 11* 46

Moreover, the facts

of the Tarsus stratigraphy indicate a sudden point in time when the

western features arrived, marked by,, destruction, which naturally finds a convenient explanation in the period of upheaval that is

reported for the end of the E82 of the West. As far as the levels

preceding Tarsus E83 are concerned one simply cannot-draw the line

in relation to the western sequence. The parallel finds are either

very weak or non-existent. All that can be said with certainty is

that at least some of what has been named Tarsus E82 must fall to

the time of the E82 of Troy/Hlsarlik, Beycesultan, and Class A and B of Yortan. This lack of-contacts or exchange of goods need not

come as'a surprise; the excavators of Tarsus remark that "at no

other time did Cilicia come so close to developing an independent

indigenous character". 47 The contacts are mostly with Syria. Only

44, H. Goldman (1956) Excavations at Gözlli Kule Tarsus II p, 131, 45. M. 0. Mellink (1965) Chronologies in Old World Archaeology, ed.

R. W. Ehrich, p. 115 ff. 46. D. French, 1967, An, St. 17: 66. 47. H. Goldman, op. cit., p. 104.

116

by stretching-the material to its utmost limits can one point to

some related features in the pottery. One such vessel is the beak-

spouted jug which is more like the south-west version than that of the North-west. 48 A second and better parallel is the multiple

vessel in double, triple or quadruple combinations. It occurs on

a number of. Cilician sites with the Tarsus finds showing that its

first appearance on the plain is in the E82 period., and it continues to be made in the E83.49

As for the question of the Egyptian and Mesopotamian dates in

the West, this is a matter that rests first on the synchronisation

of Tarsus with the west Anatolian sites, and then of the Tarsus

sequence with the historical periods. Unfortunately, just as the

Tarsus-Troy-Beycesultan synchronisation is based on disputed grounds, the vital Cilician finds that have been recognised in a historical context are no more than one pot and a seal. The former

find is a reserved slipped jug of Tarsus EB2 (? ) and was found in

the tomb of Cheops at Giza. 50 That puts Tarsus E82 and EB2 of the

West contemporary with the IV Dynasty. This not too secure datum

can actually now be confirmed by the finds at Tell Chuera where the

E83 metallic ware pots with a diagnostic double-barrel lugs are well

represented in Troy II with the earliest examples probably not

occurring before Troy IId phase. 51 Some of the Troadic pots can

even be considered imports from Syria. Kuhns suggests the end of

the EB2 Tarsus falls before the end of the EDIII period which he

equates with the end of Troy II. But his reasoning of the west

Anatolian pottery at Tarsus as due to the intensification of the

commercial contacts with Syria does not at all explain the sudden-

48, H. Goldman., op. cit., Fig. 249, no. 211,213S'2149 218. 49. See Chapter 39 p. 50. M. 0. Mellink, op. cit., p. 111. According to Mellaart's his-

torical chronology IV Dynasty dates to 2700-2554 BC which is in broad agreement with the C14 dates of the west. I am indebted to Mr. Mellaart for this point.

51. H. Kühne (1976) Tell Chuera, p. 49.

117

and total appearance of the new elements in Cilicia. 52 The second

synchronous Tarsus find in relation to Egypt is a glazed steatite seal of the EB3 period and is suggested to date from the First Intermediate Period. 53 This historical date then falls into the

second half of the west Anatolian EB3 and defines the later parts of the Yortan Class C pottery and burials.

52. H. Kuhns (1976) Tell Chuera, p. 114,115. 53. M. 3. Mellink, op. cit. 2258 = 2052 BC are the dates for the

First Intermediate Period on Melleart's chronology. See also 0. Easton, 1976, An. St. 26: 163.

118

EBA IIIB EBA II EBA I

*0 4C2 O *O *O O

° In rn ö 0 ý

N r2 vi N Q ý-+ Ln

"

1-1 CD 1.. 8 F. 1 > > º-4 1--1 MX

-1 X º-1

X O a

1-ý t-1

ý ºr > ý+

> 04 F

> _ . ---> a c-

¢ .=

rn to c4 j2 m > N H ý >

x ui i r- r -1 ¢ O Y F'

Z

F- O m U to M0 1] LO mU O 1-1

.DU 1-1 -C 1-ý X J X

,'' X F-1 F-1

rr M

f1 M

1-1 FI

> 9-1

>>> MXX

1-1 >

1.. 1 ºr >> 1-1

1 F-1 1-1 F-1 1-1

Ln M 1-1 X r, )C 1-4 X

º-1 X 1.4 X

X X X X )C X XXi

X

Ü ý

! - W m

-- --- a - ---a Z a ý. ir ý O

>- -m 0 ir3 ý C

> H Co F- a .+ F+1 -º W

F- ...

E N --- --- ----- -ý

W CL

N U

r U

a ý L» W

F- ý O ý H

º-1 > >~ 1"4 1"L º-1 1-9

W ~

= J L. 7 p

ý W w

J

H J

W r V

Co m

O CL

0 +", 9-1 ! -1

1.. 1 >> 1-A º-1

F-1 >

h-1 6-1 h-1 0. -1

X 1-1

X M-1 rr X ºr

.., M Lr

W hr > F-1 ý

X ºd X

N W

These absolute points roughly indicate the C14 dates from Karatq,

TABLE 2 Aphrodisiac, and Ezero, mentioned in Chapter 4.

119

CHAPTER 5 THE YORTAN CULTURE OF WESTERN ANATOLIA

The excavations at Yortan had unfolded a large group of prehistoric pottery which today can be rated to a position no less

significant than that of Troy, Thermi or Poliochni. Since 1900

many more cemeteries, usually plundered for the satisfaction of the antiquity market, have yielded similar, often superior, pottery

showing that Yortan is not a local phenomenon. Thus, over the

years, a term "Yortan Culture" has come to be a familiar part of Bronze Age Anatolia, denoting an imperfectly recognised cultural

entity between the so-called Troy culture of the Troad and Boyce-

sultan of the South-west. Its somewhat enigmatic undertone is

partly a result of the improper publication of the Yortan cemetery

pottery and partly due to the clandestine recovery of most of the

finds. Hence, while in his highly constructive study of the region 3. Mellaart tried to draw the geographical limits and cultural implications of the material, D. French in a customary overcautious

manner preferred to drop the term altogether and suggested a differ-

ent classification. In this study it has been thought essential-to isolate the finds of Yortan from those of the so-called "Yortan

Culture" of a more general provenance. In this way the facts of the matter could be stated and reviewed with clarity. We propose

to continue to use the term "Yortan Culture" but only after submit-

ting an explicit definition of the evidence. To attain this end

it needs to be demonstrated that there is an area in western Anatolia

where a number of sites, both burials and settlements, contain pottery which is similar or identical to that of the Yortan cemetery.

Secondly, the pottery of Yortan need not be reported as being special to the burials but can also be found in the habitation deposits.

Thirdly, it is essential to draw the chronological limits of the

material. From the following account it will also become clear that

Yortan is neither the centre nor the most outstanding part of the

culture; but because it was at this site that the pottery first

became known, one may continue to use it as the type-site rather

than introduce further complications by new terminology.

120

The nearest and best known site is Babaköy near Bigadic. The

pottery illustrated in Fig. 87 was found in pithos burials identical to those of Yortan. 1 The jars are very much in the form and decoration of Shape II, III and IV. One bowl, no. 4 (Fig. 87 found by Bittel, is similar to the Berlin bowls, Ber, no. 64,65 (Fig. 24 ). 2 Both the beak spouted, Shape VIII, and cutaway

spouted, Shape X. jugs plain or with white painted decoration, are also reported.

3 No. 5 (Fig. 87 ) is a large overlapping lid, Type (C) at Yortan, while other types of lids are also well represented. The tall jug no. 23 and a small jug or cup no. 4 appear quite different in shape and fabric and may well be identified with the "C"

class pottery of the EB3 period. There is also J. R. Stewart's

observation that a sherd of Troy V type was found at the site. 4

The bowl on tripod feet, no. 68 (Fig. 87 ) strikes one as being

more like the Level XIII examples of Beycesultan5 than shape A. 17

of Troy I and II. 6

Although the Babaköy finds are not large enough to represent

all the types and shapes of, Yortan, it is still sufficiently repre-

sentative to allow both sites to be attributed to the same pottery

assemblage. To the west of Yortan are the disturbed sites of Soma

and Pergama. The available few pots Fig. 88 are again quite like the Yortan pottery of Class Ap though the tall-neck jug from

Soma., no. 34 ' could be of Class "B" date. More material is known

from the cemeteries of the Balikesir area which are exclusively

robbed and their contents divided up between the private and museum

1. K. Bittel., 1939, A. f 0.13: 1 ff; W. Orthmann., 1966, Ist. Mitt. 16: 1 ff; For further details see I. K. K6kten, 1949, Bell. 13: Lev. XCIV.

2. K. Bittel, op. cit. 3. Ibid., p. 9p 15. 4. J. R. Stewart (1948) Handbook to Nicholson Museum p. 81. 5. S. Lloyd and J. Mellaart (1962 Beycesultan I. Fig. P. 43., no.

61 8., 9. 6. C. W. Biegen (1950) Troy I. Fig. 233, no. 35.537; Fig. 259;

Fig. 412, no. 25,, 26.

121

collections round the world. One exception to this sad and shameful

state of affairs is a brief excavation by E. Akurgal at a small

settlement mound of Ovabayindir near Degirmenderesi. 7

Only a small quantity of pottery was recovered, without an apparent stratigraphy, but it is very useful material in demonstrating the existence of at least some of the Yortan shapes on a settlement site of the area; the bowl with inverted rim is there, also in the variety with verti-

cally pierced carination, 8 there are high pedestal bases, lids of

Type (a) and fragments of jugs in Shape VII-VIII, or IX-X. The

team which had undertaken this research was also able to confirm the looting of a number of rich burials of the area.

9

Fig. 89-97, no. 1-36, , illustrate a number of vessels of

unknown provenance. They display features which are identical to

those of Yortan and some may even originate from that site. Others

such as jug no. "30 (Fig. 93. ) are products of a different centre but still belong to the same tradition of pot making. No. 33 (Fig.

95 ), said to be from Babaköy, is a most unusual vessel combining the characteristics of Shape III and IV in a kernos. On the other hand, Fig. 92,93,95, no. 23-29,34,35, -are vatious finds. which. äre again

undeniably related to the Yortan pottery but are generally known

to have come from the cemeteries of the Balikesir area. Further

examples are illustrated by S. Schiek and F. Fischer, 10 The bowls

no. 1-6 (Fig. -, 89 ) have already been examined;

11 they make a

significant addition to the repertoire of the Yortan bowls. Among

the jars, no. 21 (Fig. 91 ) with a tall collar neck and "wing"

7. E. Akurgal, 1958, Anatolia 3: 156 ff. 8. Ibid., Abb. 4. 9. In and outside the village of Ovabayindir, and at Mandraköy

(Yeniköy), I. K. Kökten9 op. cit., p. 817, reported one looted site at Boztepe (Ivrindir). One further such site is mentioned by D. French, 1969, An. St. 19: 45, Pamukcu.

10. S. Schiek and F. Fischer, 1965, FS 17: Taf. 25-27. 11. See Chapter 3y P-43,98

122

lugs is most like the Thermi jars in Town IV; 12, No. 22 (Fig. 91 )13

is almost a double of the Yortan jar no. 6 (Fig. 29); the tall,

plain jar,, no. 19 (Fig. 91 )., on tripod feet is in Shape III form,

except that the double lugs or handles on the upper section of the

body are not found at Yortan but occur on a jar of a different

shape at Beycesultan Level XIV, 14 Other small jars with rich in-

cised decoration and lustrous black burnishing are again'related to such Yortan jars as no. 5 and 6 of Shape IV, and on account of their much taller, flaring'bases and richer ornamentation one is

inclined to suggest a date towards the end of the EB2 period. 15

Two pyxides are in a'rounded shape resembling a nomad tent; they

make an interesting comparison with the Cycladic stone pyxis in

the appearance'of a house with a gabled roof; 16

no. 9 (Fig. 13 )

is more like those found in large numbers at Thermi I1? and Troy

I. 18 A large and coarse black jug, no. 31 (Fig. 94 ) is unique in reflecting the impression of a bird of prey in profile. Finally

there is the brilliant jug, no. 32 (Fig. 94 ) which in its superbly" balanced shape and a faultless, pitch black surface may well be

rated as the most successful product of the whole of the illustrated

material. The zigzag motif is incised and white filled, and it

very probably belongs to a period later than most of the Yortan

jugs of Shape VII-X. 19 Jugs of similar proportions could only be

sought out at Beycesultan in Level XIIa and Level XI. 20 Some fif-

teen dagger blades and eleven needles are also known to have been

12, W. Lamb (1936) Excavations at Thermi in Lesbos. Pl. X. no. 48, 336.

13. Now in Copenhagen. 14. S. Lloyd and J. Mellaart, op. cit., Fig. P. 42s no. 2. 15. See Chapter 39 p. 16. P. Getz-Preziosi (1977) Art and Culture of the Cyclades, ad.

3. Thimme, P. 100 ff; Fig. 88, no. 6. 17. W. Lambs op. cit., Pl. XLs Type XIIIc. 18. C. W. Blegen, op, cit., Fig. 230, no. 35.468, no. 36.687,

no. 33.159; Fig. 244, no. 30. 19. See Chapter 2p p. 30 20. S. Lloyd and J. Mellaart, op, cit., Fig. P. 48p no. 7; Fig.

P. 49s no. 9.

123

found in these Balikesir tombs. All, except no. 14, belong to the

well-known types of the EB2 period. No. 14 dagger shows a very

strong midrib section and is generally agreed to date later than

the E82 period. Similarly one needle, no. 25, with a bell-like

head is better put to a late date. 21

On the whole the Yortan products are inferior to those of Bali-

kesir, but that does not alter the fact that here are a number of

cemeteries which are situated within the same geographical zone and

physical environment, and display almost identical pottery types.

Furthermore this quite uniform pottery assemblage is not restricted

to the burials but can be successfully correlated with the survey

material from the nearby settlement mounds. The position of the

Ovabayindir settlement in relation to Yortan has already been out-

lined. 22 A survey material is often, strongly biased in favour of

the most common type of vessel from a settlement, the bowl, so that

only a part of, the Yortan repertoire can be identified on the mounds.

Nevertheless the parallels are, when located, rather good. The

most widely spread type is the carinated bowl in the so-called black

grey, red or brown Balikesir and Akhisar/Manisa wares. Some are

plain vessels, others are ornamented in matt white painting, and

quite similar to no. 1-7 (Fig. 23 ) of Yortan. To cite a few

examples: no. 26, Fig. B. from Kayi? lar23 is no. 7 (Fig. 23 ) at

Yortan; no. 14,150 Fig. S. from Pamukqu, or no. 19p 319 Fig. 8o

from Kayiglar are small bowls with painting on the rim; 24

no. 24,

260 Fig. 9. from Halitpaja I and III or no. 22, Fig. 109 from

Kayiglar, and no. 1.50 Fig. 119 from Hacirahmanli and Halitpaja II

have the more upright inverted rim and carination, 25

similar to the

Yortan bowl, no. 8 (Fig. 24 ) with or without the lug. Particularly

important is the bowl with pierced carination, no. 31, Fig. 9

21. S. Schiek and F. Fischer, op. cit., p. 163; see p. 39 22. D. French, 1969, An. St. 19: 77. 23. Ibid., p. 77-81. 24. Ibid. 25. Ibid.

124

(Kays? lar)-and no. 25s Fig. 12 (Ovaköy III). It occurs on some twelve sites of the area.

26 By contrast it is not among the cari-

nated bowls of Troy/Hisarlik, Thermi or Beycesultan, and it may well be a speciality of this area. Then, a number of spout fragments,

Fig. 20,27 from Ovaköy III, Pamakcu, Kayiglar and Hacirahmanll are

not classified but unmistakably belong to the Shape X jugs of Yortan. The body shards,, Fig. -22s

28 decorated with matt-white lines and chevrons must, except for no. 8. also belong to such ves-

sels. D. French is rather cautious in his recognition of the Yortan

pottery and classifies it as a sub-group under the "Black Burnished

Balikesir" pottery in the Troy II period. Other sub-groups of this

pottery are arranged according to ornamentation as plain, grooved/ incised, white painted, and plastic. He prefers to see Yortan as

a "cemetery" pottery not necessarily representing the "settlement"

pottery of the survey. But the present argument is that the Yortan

pottery is not restricted to the burials but is merely a selection from a larger assemblage and can therefore be shown to have a full

representation on the settlement sites, especially at better

known Troy/Hisarlik, Thermi and Beycesultan. We may well suspect, therefore, that when more sites are excavated the parallels between

the contents of the burials and the surrounding low mounds will be

even greater. French himself does not give a definition of the

Yortan pottery, but in ascribing it to several sites - Pamukcu,

Papköy, Sindirgi, Halitpaja II - he seems to use the incised shards

and lids of Type (a) Shape X as his criterion. 29 Ifs then the

proposed assessment and correlation of the Yortan pottery are

accepted, the definition of these cemeteries and mounds of the

Balikesir, Akhisar and Manisa areas as broadly comprising one and

the same pottery culture becomes inevitable and it may well be named

26, Ibid. Also D. French (1968) Anatolia and the Aegean in the Third Millenium 8C. Fig. 32. Unpublished. The sites are: Yortan, Ovabayindir, Kayi. lar, Ovakdy III9 Köselar, Naipli, Pamukcu, Pafak8y, Sindirgi, Kennez I. U ektepe, U pinar.

27. D. French, 1969, An. St. 19: 89. 28. Ibid. 29. Ibid., p. 642 Fig. 122 no. 32-37.

125

0

after its type-site, Yortan.

A full geographical definition of the Yortan Culture is not

yet possible and one can only offer a rough outline on the basis

of the presence and absence of the most outstanding characteristics

of the pottery. In the West, Bergama in the valley of the Bakirgay

(Kaikos) has already been mentioned, 30 In the same valley towards

the coast twelve sites are known from a small survey. 31 The

carinated bowl is again widespread, some rather characteristic

plain examples occurring at Yeni Yelde6irmen Tepe. 32 A variety

with a tubular lug is found at Tepe I in the Gumujova Deresi, 33

and

one with a lug below the carination at Üyücek Tepe near candarli, 34

But the occurrence at Tape by Ayazköy35 and at Üyücek Tepe of rim

and neck fragments that are in the flanged form of Shape III III

jars of Yortan is even more significant. Indeed, such equations

with Yortan are only natural, since all these sites are located

within the geography of the Gediz valley, and even Lesbos further

away off the Anatolian coast may be brought into the same pottery

provenance. Opposite Thermi, I. K. Kökten reported a brief survey

and small sounding at Kaymak Tape in the plain of Altinova. 36

Unfortunately the results are hardly published, depriving us of in-

valuable knowledge on a precise definition of the coast in between

the off-shore islands and the inland Yortan Culture.

At Bayrakli near izmir Troy I-II pottery is reported from the

lowest levels, 37 and one suspects at least some of it is more likely

30. See p. . Also S. Loeschcke, 1912, Ath_ Mitt. 37: 402. A. Conze (1912) Altetümer von Perpamon I. 2, p. 157,158. E. Boehringer and F. Kraus (1937) AltetUmer von Pergamon IX p. 100.

31.3. Oriehause, 1957, Ist. Mitt. 7: 76 ff. 32. Ibid., p. 849 Abb. 4. 33. Ibid., Abb. 1. 34. Ibid., Abb. 6. 35. Ibid., Abb. 3s no. 10,17; Abb. 6., no. 9. 36. I. K. Kokten, 1949, Bell. 13: 816.

.. 37. E. Akurgal (1950) Bayrakt. Kazisi. On Rapor, p. 54.

126

to be Yortan. At Sardis the prehistoric investigations on the shores

of Marmara G61U (Lake Gygean) revealed similar pottery at two loca-

tions, Ahlatli-Tepecik38 andýEski-Balikhane. 39 Both sites seem to

be pithos burial grounds without architectural remains. Once again the excavators compare the pottery with that of Troy/Hisarlik but

the illustrated examples, at least, are better'paralleled at Yortan,

though a certain degree of change in the details of shape is already

sensed. For example, a small jug40 belongs to the juglats, Shape

VIA but the overall form shows different elements. Across the sea the excavations of Chios, Emporio, are yet to be published. Various

deposits below the Mycenaean levels are ascribed to Troy I and III

and Kumtepe pottery. S. Hood speaks of a Troy I horizon41 and we

may again suspect that this pottery is actually directly linked with

the Yortan Culture of the opposite mainland. Heraion I on Samos,

on the other hand, though still within the sight of the North-west,

is oriented more towards the south-west of Beycesultan. 42 Thus, it

seems that the Gediz valley defines the immediate southern boundaries

of the Yortan pottery. Further South the Yortan elements may still be found, is, at Beycesultan, but intermingled with those of the

South-west. Judging by the Iasos finds, 43 the coast and the off-

shore islands occupied an intermediate position between the Aegean,

is, the Cyclades, and Anatolia.

Beyond these loosely defined southern and western geographical.

boundaries of the Yortan Culture which is effectively between the

line joining Edremit and Balikesir in the North and the Gediz

(Hermos) in the South, it becomes more difficult to assess the

38, D. G. Mitten and G. Yüdrümz 1974, Arch. 27s no. 1: 22 ff; D. G. Mitten, 1968, BASOR 191 Oct.: 7 ff.

39. D. G. Mitten and G. Yü r-Um, 1971, HSCP 75: 191 ft. 40. D. G. Mitten and C. YU4rüm., 1974, Arch. 270 no. 1: 25. 41. S. Hood (1965) Atti del VI Congresso Internationale delle

Scienze Preistoriche de Protostoriche. Sezione III0 p. 226,

42. S. Lloyd and J. Mellaart, op, cit., p. 181. 43.0. Levi, 1961-629 ASAA 23-24: 555-571; 1965-66p ASAA 27-28:

505-546.

127

meaning of any Yortan or other west Anatolian elements that may be

encountered, especially further west in the islands and Greece.

That there were contacts, peaceful or hostile, throughout the, Bronze

Age between the islands and the two mainlands on either side of the sea need not be doubted at all. The need for caution and moder-µ

ation comes where it is a question of interpreting. the evidence in

terms of the origins and development of the various cultures and inter-relations. On Crete the Late Neolithic is thought to contain

strong north-west Anatolian elements* 44 In the succeeding EB1 and

E82 periods Anatolian-like features are also detected but without a

plausible explanation to their meaning, especially when so little

is known of the south-west coast of Anatolia. Among these elements-,

foreign to the island's Neolithic, is the jug with a cutaway spout.

Although the shape of the body and the base is quite unlike those of

Yortan, the form of spout and the small knobs on either side of the

neck are truly identical to those of Yortan Shape X jugs in group 6.45 However, the painted decoration, dark-on-buff, is unknown any-

where outside Crete. In Greece and the Cyclades there are various

objects that can be recognised without doubt to belong to, the Early

Bronze Age of western Anatolia. 46 The tankard or dopes , as perhaps

one of the best known pottery shapes of the North-west occurs both

on the islands and mainland in the ECII and EHII. In the reverse

direction the sauceboat of the Cyclades and Lorna is at Thermi and

Troy/Hissarlik. But in viewing the entire cultural assemblages in

which these odd objects are found it seems wrong to maintain an

Anatolian influence across the sea, except perhaps for Macedonia.

One of the most typical pottery types of western Anatolia is the

44, J. D. S, Pendlebury (1939) The Archaeology of Crete, p. 41 ff; P. M. Warren (1973) Bronze Age Migrations in the Aegean, ed. R. A. Crossland and A. Birchall, p. 222 ff; J. 0. Evans, 1962-63, Archaeological Reports. p. 29; S. S. Weinberg (1965) Chronologies in Old World Archaeology, ad. R. W. Ehrich, p. 301.

45. See Chapter 3l p. 46. For a list of objects in Greece see D. French (1968) Anatolia

and the Aegean, p. 129-132; C. Renfrew (1972) The-Emergence

of Civilisation, p. 196 ff.

128

jug with a beak or cutaway spout. The jug does appear in the Keros-

Syros culture of the Cyclades but it is quite unlike those of Yortan

or Troy/Hisarlik. Similarly there is little direct resemblance bet-

ween the jars, pyxides, multiple vessels of either region. It is

only in the idea of creating and using such types of vessels, whether it be for the tomb or in the house, that a broad cultural unity or familiarity may be suggested-for the Aegean zone.

47

In Anatolia, Aphrodisias and Karataq-Semayük are yet to be published. Probably their position in relation to Yortan and the

North-west will prove to be not too dissimilar to that of Beycesultan

of the same cultural province; here the local pottery is distinctly

different in displaying a greater percentage of the red burnished

wares and a more popular use of the fluted and ribbed ornamentation.

Some rather close Yortan parallels may, therefore, be explained in

terms of "contacts" between two neighbouring regions., rather than

due to cultural superiority or influence. As one moves further away

from the Gediz valley the trends and traces of Yortan become fewer

and more general. Thus Karatap, and perhaps even Aphrodisias, show less satisfactory parallels than Beycesultan. In the Burdur-Isparta

region - Senirce, 48 Mancarli Hüybk, Yassi Hüyuk, 49 etc. - the common

Yortan jugs, Shape VIII, X. continue to be found but more in the

tradition of Beycesultan and of Kusura further north. The latter

site is the type-site of the squat cup (Kusura cup) but it also has

some Shape VIII jugs without the fluted or ribbed drapings of the

area and more in the plain burnished style of the North-west. 50

The Afyon-Emirda6 pottery shows a high quality and a general like-

ness to the Yortan jugs, 51 but the proportions are quite different

and a reserved slip decoration applied in the form of a broad zig-

zag band is never found in the North-west. Two isolated occurrences

47, See Chapter 3p p. 85 48. H. A. Ormerod, 1911-120 BSA 18: 80 ff. 49.0. Mallaart, 1954, An. St. 4: 231,232. 50. W. Lamb, 1936, Archaeologia 86: Pl. VII, no. 8p 11. 51. Unpublished material, but it is on display in the Museum of

Anatolian Civilisations, Ankara.

129

of Yortan-like jugs are from Kula52 and Emet. 53 In the EskiVehir-

Ankara region the south-west elements are again strong; at Ahlatlibel, 54Polatli, 55

Karao6lan56 the grooved, fluted or ribbed decoration is very popular, often applied on the "Kusura cups" with

a high loop handle that can be plain twisted or cog-wheel type.

Such Yortan characteristics as the cutaway spouted jug, small jars

with collar neck, pyxides, lids, carinated bowl, or the tubular lugs,

are completely absent. In view of this wide inland spread of the

South-west pottery it is surprising to hear the excavator of Kara-

huyuk/Konya refer to many Troy parallels in the lowest levels of

the site. 57 Eagerly awaited publication of the material may solve

the puzzle. Bos-öjük and Demirci Hüyük finds are nearer to the

North-west though still remain outside the immediate sphere of the

Yortan Culture. Among the more obvious shapes, common to both

regions, is a zoomorphic vessel and depas from Bbs-öjük, 58 and a

small bird-shaped vessel and jugs from Demirci Huyük. 59 Further

north in the Iznik area the characteristic shape is a bowl with flaring or curving sides in the Yenijehir black topped ware*

60

There are some carinated bowls, tubular lugs, and white painted

sherds situated so close to the Troad and the Balikesir plain that

it is quite expected to find features common to both areas, but as

a cultural unit it probably belongs to that which is now best known

from Demirci Hüyük.

52. W. Lamb, 1931-32, BSA 37: 167, Pl. 23b; Beycesultan I. Fig. P. 22, no. 6 jug is restored according to this example. But the Kula vessel actually does not have front protrusion in the shape of an animal head, but the feature is more like

a small phallus. Two more, one on either side of the body,

are now restored. 53. ' J. L. Myres., 1903, RATOP 33: 373. 54. H. Z. Kopy, 1934, Ahlatlibel Hafriyati, TTAEO 2. 55. S. Lloyd and N. G6kce, 1951, An. St. 1: 45 ff. 56. R. 0. Arik, 1939, Bell. 3: 27 ff. 57. S. Alp, Karahuyuk Kazisi. Haberler. 1965, Bell. 29: 551;

1966, Bell. 30: 493; 1967, all. 31: 456. 58. A. Koerte, 1899, Ath. Mitt. 24: Taf. II. 59. M. Korfmann, 1979, Ist, Mitt. 29: Abb. 7. no. 7. 60. D. French, 1967, An. St. 17: 49 ff.

130

Perhaps one of the more interesting outcomes of this research has been the classification of Troy's position next to that of Yortan. Chapter 3 deals with the parallel finds in detail, and

one can see that in the selected repertoire of the Yortan pottery the Troy I-II shapes are often represented in much better makes,

and even superior products are known from the Balikesir area. Our

natural conclusion has, therefore, been that this area is the main

centre of the pottery, spreading as far-as the coast or even beyond.

The site at Yortan is a part of it, perhaps not a particularly pros-

perous one, and the small settlement at Hisarlik may well be an

extension or off-shoot of this cultural entity. If some local

"Troadic" features are in existence, they would have been acquired through the site's proximity to the sea and the, Thrace. One impli-

cation of this argument is to abandon the existence of a separate

coastal Troy I culture between the Gulf of Edremit and Izmir. Some

fifteen sites of the Yortan Culture area are known to have the

Kumtepe Ib type pottery, 61 but in the Troad only Kumtepe has yet

produced it. One may, therefore., imagine that this pottery marks the beginnings of the diffusion'from the inland sites towards the

coast and beyond. In the succeeding E82 or Troy I/K umtepe Ic phase the process is completed and there are many new sites. Besides the

mound of Hisarlik eleven sites are recognised with this phase. 62

Beyond Anatolia the North-west or Troy/Yortan elements continue

to be found in the 'Thrace and Balkans. At Dikili Tal the EB2 period

in Level 2-11 is readily recognised to be related and contemporary

with Troy E82 or Yortan pottery. 63 Even better parallels are from

61. D. French, 1961, An. St. 11: 104, Fig. 2. 62. See 3. M. Cook (1973) Bronze Age Migrations in the Aegean. ed.

R. A. Crossland and A. Birchall, p. 40. The sites are: Kara6ac Tapes coban Tepe, Kumtepe, Be§ik Burnu, Hanay Tape, Hantepe, Alaiindria Troas, Colönae, Kümbet, Kocabahce, ciflik Tepee Altin 01uk (near Pipazli).

63.3. Deshayes, 1972, Arch. 25. -no. 3: 199.

131

Karanovo VII 64 and Ezero B (Horizon VIII-II).

65 At the latter site

the tubular lugs pierced horizontally (Horizon XIII-II), an askos

shape jug (Horizon XI) and a jar with "wing" lugs (Horizon III) are

particularly significant. The jug with the slanting spout is found

in all levels, but the oblique cutting is never so pronounced as that of Yortan.

Finally one may attempt to give a definition of the chronology

of the culture. Besides Yortan many other sites are now known to

have a full Early Bronze Age sequence lasting into the Second Mil-

lennium BC. The last period of the Early Bronze Age, which at Yortan is represented by the Class C pottery, has a wide distribution

under the title of Red Wash or Slip ware of western Anatolia.

Obviously the term "Yortan Culture" cannot be applied to the entire Bronze Age sequence. There is too great a difference between the

earliest and latest wares, and at the present stage of research it

is quite impossible to see whether the E83 wares of Yortan were any different from those of Troy III-IV or Beycesultan E83. It iss

therefore, proposed, as already suspected by Bittel, 66 to limit the

term to the Class A and partly Class 8 pottery characterised by a highly burnished surface and ornamentation in white filled incision

or matt white painting. Toward the higher limits, its extension into the so-called Kumtepe Ib phase is not unthinkable. Indeed,

some of the Class A shapes may well start back in the EB19 or even

earlier in the L. Ch. 4 of Beycesultan.

One notes with interest that while the region was densely popu-

lated in the Bronze Age, the formation of the settlements is in

small and low mounds rarely exceeding ca. 100 m in diameter and

ca. 5m in height. This striking phenomenon in the settlement

64. V. Mikov, 1959, Arch. 12: 88 ff. 65. G. I. Georgievp N. J. Merpert, G. 0. Dimitrov (1979) Ezero.

Abb. 2040 171. 66. K. Bittels 1939s A. f 0.13: 20.

132

pattern of the North-west has long been noticed67 and can be ex-

plained as due to the extensive use of wood in architecture and the political circumstances of the age. But above all environmental factors such as the deforestation of the countryside and subsequent

soil erosion must also be considered. The importance of this latter

factor can actually now be observed in the formation of Demirci

Huyuk. 68 The full height of the habitation levels between the sum-

mit of the mound and the virgin soil is ca. 13.5 m but only 5.5 m of this accumulated occupation is actually above the present plain level, and the rest, that is the earlier Bronze Age and Chalcolithic

periods, are deep down, buried in the erosion soil. In other words

the present mounds of North-west Anatolia are usually only the sum-

mits of settlements which lie well below the plain level and if

excavated may well turn out to belong to much larger settlements.

In the historic centuries of the Second Millennium BC the region

appears to have remained on the peripheries of the Hittite kingdom

without achieving a major central power to meet the challenge from

Central Anatolia. 69 If a serious break at the end of the E82 period

of western Anatolia can be proved beyond doubt, it is highly likely

to be a very significant turning point in the prehistory of Anatolia

and the Aegean; it marks a change of direction in the cultural

development that may have lasted uninterrupted since the Late Chalco-

lithic period. This change could have brought about linguistic and

ethnic novelties, the Luwian speaking people being one such new

force in Anatolia. If soy then there remains little cause for

67. A survey of these views is given by T. Ozguc, 1944, Bell. 8: 55 ff.

68. M. Korfmann, 1978, An. St. 28: 17. 69. There is no secure identification of the area in the Hittite

geographical names. Lesbos-Lazpas is generally accepted; it is also quite certain that Arzawa occupied at least some parts of the Gediz/Hermos valley; Bakir gay/Kaikos is often identified with Seha River. But the position of Ahhiyawa in the Trace and Troad, or in Mycenaean Greece, is yet to be settled.

133

supposing a direct link between the Second Millennium BC Luwians and the people of the Yortan Culture,

70 Indirectly a gradual inter-

mingling of the peoples, old and new, is not an unreasonable propo-

sition, a process of cultural and ethnic development that has often

characterised the peoples and cultures of the Anatolian peninsular.

It has been suggested that several pot marks on the pottery of the

Yortan Culture could be the beginnings of the hieroglyphic writing

of the Second and First ; flillennia BC. . 71 As the evidence stands it

is hard to be conclusive. With the exception of the Dorak-finds

there is hardly anything to speak for Egyptian influence under which

the Anatolian writing system could have developed. On the other

hand, no place outside Anatolia can be shown to have employed these

signs and therefore it'is more likely that Anatolia is the place of

evolution, perhaps the Egyptian influence or impulse arriving via

Crete. Since it is highly unlikely that the upheaval led to a

complete annihilation of the old stock, the so-called Luwian speak-

ing people must have absorbed at least certain strains of the people

who produced the pottery of Yortan or Beycesultan. But before a

direct link between the pot mark showing the figure of a human and

the Egyptian "ankh' and between the Luwian hieroglyphics and the

Yortan Culture, can be established, some more such hieroglyphic or

proto-hieroglyphic signs need to be found on the pottery of the

Early Bronze Age of north-west Anatolia.

70, H. The Bossert, 1960, Or. 29: 312 ff. 71. Ibid. See also Chapter 2, p. 36 . The next possible earliest

occurrence of the hieroglyphic writing in Anatolia is at Beycesultan, where a stamp seal was found below a Middle

_Bronze_Age_building in_LevelVI. See S.. Lloyd and 3. =Mellaart,

1958, An. St. 8: 97, P1. XXVI(a), and 3. Mellaart, 1971, CAH Is

part 2: 408.

134

CATALOGUE OF THE FINDS

All the pottery that could be examined is described briefly

below. Except for Babak5y and Soma/Gergama finds., all the

illustrations of the pottery are reduced to approximately half

life size. Only the spindle whorls are given without reduction.

Together with ample illustrations, it has been the author's aim to present the finds for critical study as a single body of exca-

vated material., and thus to some extent eliminate the necessity of

visiting all the main eight museums for a comprehensive knowledge

of Yortan. Most of the pottery of uncertain provenance could not

be examined by the author, who is indebted to Mr. 0. Mellaart for

readily putting his personal records of these finds at the disposal

of his student. Of the four schematic figurines illustrated by

M. Collignon in CRAI (1901), p. 810 ff. only two could be found,,

while the metal objects are today available only from K. Bittel's

publication in A. f 0.13 (1939) p. 1 ff. The following abbre-

viations are used:

Ber. no. W. Orthmann's publication of the Yortan pottery at Berlin. See lat. Mitt. 16 (1966): 1 ff.

B. M. British Museum, London.

Brussels Musses Royaux d'Art at d'Histoire (Cinquantenaire).

Cambridge The Fitzwilliam Museum, Cambridge.

Istanbul Istanbul Arkeoloji Müzeleri, Istanbul.

Louvre Musse du Louvre, Paris.

Paris Inst. l'Institut d'Archeologie Orientale, Paris.

Sevre Musse National Ceramique, Sevre.

St. Ger. Chateau Saint-Germain-en-Lays.

135

CLASS A POTTERY OF YORTAN

All Class A pottery is hand-made without the use of the fast

wheel.

SHAPE I Bowls (Fig. 239 24; P1. III)

1- Coarse dark grey fabric and thick walls. Burnished, and

possibly slipped. Dark grey colour of the fabric and surface turns buff in places. The carinated upper section is in-

complete, where there might have been a lug or vertically

pierced point, as on no. 2 bowl. (Paris Inst. )

2- Fine, black/dark grey fabric. Inside and outside surface is

also black, and burnished. Rounded base where there is

incised cross. Without handle or lug; instead the carinated

upper section and inverted rim is vertically pierced in two

places forming a pair of string holes. (Brussels, inv.

A. 2656)

3- Fine black to brown fabric and surface colour. Burnished to

high shine. Similar to no. 2. One flat lug, vertically

pierced and set on the carination. (B. M., inv. 132414)

4- Fabric probably quite fine, rather thin walls. Slipped and burnished. Fired black without lighter oxidised patches. Flattened base. Below carination are a pair of vertically

set tubular lugs; one is missing. (Louvre, inv. CA. 1220 32)

5- Fine, grey fabric. Burnished inside and outside. On the

exterior, dark grey/black surface changes to red brown on one

patch. Possibly also slipped. Stands on a high pedestal

base pierced with four large holes. In between the point of

carination and rim lip is set one tubular lug, pierced

136

horizontally and decorated with six transverse incised lines.

(Louvre, inv. CA. 1220 31)

6- Coarse fabric, mostly black which is also the overall colour

of slipped and burnished surface. Some buff patches. About

half of pedestal base and part of the upper body are missing. Very highly set carinated section is more like thickened rim

with a flat and near horizontal top. A pair of small knobs

on the rim top are vertically pierced. (Louvre, inv. CA.

1220 83)

7- Grey fabric which becomes coarser towards base. Burnishing

is not obvious. Grey to light brown surface, perhaps coated

with thin slip. Thick walls are sharply carinated. Small,

well-defined, flattened base. One small handle is set below

carination. (louvre, inv. CA. 1220 )

8- Coarse fabric with large grain of mica quartz and other in-

clusions. Fired hard, grey to light brown colour. Without

slip or burnishing. Pitted exterior surface. Flattened

base,, rounded carination. Inverted rim has flat lip. One

small, unpierced lug below carination. (B. M., inv. 132413)

9- Dark grey fabric. Burnished inside and outside. Overall

surface colour is the same as fabric, in places turns to a lighter tone with some brown. Irregular shaping. Broken

horizontal handle is set on the point of carination. (Louvre, inv. CA. 1220 29)

10 - Where visible fabric is dark grey colour. Burnished outside,

has a yellow/brown complexion which may suggest slip coating.

Shape similar to no. 9p only body is deeper and more rounded

in profile. (Louvre, inv. CA. 1220 24)

Ber. no. 64 W. Orthmann, 1966, Ist. Mitt. 16: 18s 19.

Ber. no. 65 See Orthmann, op, cit.

137

SHAPE II Small jars with tall neck and on feet (Fig. 259 262 27;

P1. IV)

Overall shape is the same on all pieces. The rounded body

stands on three or four feet. At the widest contour are two knobs

and two vertically pierced lugs with one or two points, and round

or flat in section. The neck is tall and cylindrical, sometimes flaring to the rim which is flanged and flat-topped. Linear deco-

ration - parallel lines, zigzags, or bands of parallel lines filled

in with dots - is exclusively incised and often white filled. The

pattern is placed either horizontally on mid body in between knobs

and lugs, or perpendicularly from neck base to feet. The most

variant element between individual jars is the surface treatment

varying from black lustrous burnishing to a dull, light grey reflection. No, 25 is the only red ware example of the Shape. The tex-

ture of the fabric is also liable to change. Everyjar is provided with a

pair_ of_string_holes,, one on either side of the neck, below flanged rim.

1- Black fabric, burnished. In comparison to rounded body, three

feet and cylindrical neck are rather short. (S. M., inv. 132418)

2- Fine,, dark to grey fabric. Remains of burnishing. Lugs are

missing. Carelessly executed incision; there is a single line with strokes arranged roughly into herring-bone pattern. (Paris Inst., no. 25)

3- Fabric is finer than usual. Light coffee brown in colour.

Surface not burnished, but coated with a black slip. Neck.

flares to a gently flanged rim. Two small knobs and one of tripod feet are missing. Faint incision. (Brussels, inv.

A. 2632, Yortan-Kelembe 10712)

4- Black/dark grey fabric, burnished. Rounded body stands crooked

on four feet. Horizontal mouth opening is not quite horizon-

tal., and everted rim slopes inwards. Lines in between knobs

and lugs are very faintly incised. (B. M., inv. 132419)

138

5- Probably quite fine fabric. Surface colour is mostly dull

dark grey with a light brown patch on one side. Smoothed.

The rim is more everted than flanged. White filled incision.

Inside remains of a red substance. (Sevres 10729 2)

6- Black/grey fabric, burnished. Two thick and pointed lugs

and two prominent knobs. Upper parts of neck are missing. Base of neck is ornamented with short strokes forming a zig-

zag line, dots and a single horizontal line. In the four

quarters of body which lugs and knobs divide ups three are

filled in with bands of dotted lines, and one has a running

zigzag with dots on either side. (Louvre, inv. CA. 1220 33)

7- Very fine dark grey/black fabric, fired to a metallic hard-

nesso and highly burnished. It is certainly the most deli-

cate example of its type. Stands on four small, pointed

feet. Most of neck is missing. (Louvre, inv. CA. 1220 )

8- Fine, black to grey fabric, burnished. Rather neat product

but does not stand upright on the elegant tripod feet. Band

of a single wavy line at base of neck, and three bands of

dots round the body. (Paris Inst., no. 19)

9- Dark grey fabric which breaks up'in flakes. Little burnished

surface is in a lighter tone in places. Half of the jar is

missing. Cylindrical neck swells in the middle. A band of

wavy lines in between the protrusions, and circles suspended

from a horizontal line at neck base. (Louvre, inv. CA. 1220 56)

10 - Fine., grey fabric, burnished. Three of the four feet are

restored. Incised decoration consists of a zigzag line with

a row of dots on either side. At base of neck is a band of

two-parallel lines and-a row of data. (Brussels, inv. A. 2635)

11 - Grey fabric. Burnished, with brown patches. One of four feet

is restored. Rim is sharply everted and slopes outwards.

139

Deeply incised decoration of circles and an'interrupted double

zigzag band. (B. M., inv. 132422)

12 - Fine, dark grey fabric, burnished. Part of the upper neck is missing. A wide band of double zigzag in between pointed lugs and knobs. Neck base has the common motif of short

strokes suspended from a single horizontal line. (Brussels,

inv. A. 2628)

13 - Fine, dark grey fabric. Burnished surface varies between . this colour and a lighter tone. One of four feet is missing.

Cylindrical neck, partly missing at rim. A wide band of

running lozenge in between two flat lugs. (Louvre, inv.

CA. 1220 84)

14 - Rather fine black to grey fabric, burnished. Two vertically

pierced horn-like lugs. A wide'band of double zigzag round

mid body and two parallel lines at base of neck. (Brussels,

inv. A. 2630)

15 - Fine, black fabric. ' Highly burnished surface turns to brown

colour on one side. One of the two pointed lugs is missing. White filling of the incised decoration - two opposing zig-

zags with a running lozenge in between - produces a good

contrast on the black surface. (B. M., inv. 132425)

16 - Fine, light grey fabric. Surface is in a dull colour of

grey. The main incised pattern on mid body consists of a

band of wedge-shaped punctures. Upper body is covered with

thin lines, perpendicular to a single horizontal line at neck

base. (Brussels, inv. A. 2653)

17 - Fine., black fabric, well burnished. One of three feet is

missing. Flat, double pointed lugs. Neck flares to rim in

a continuous curving rather than flanged profile. In between

knobs and lugs are curving triple bends. (Paris Inst., no. 20)

140

18 - Grey fabric. Burnished surface is light brown in places. Three of the knobs and-lugs are broken. Broad rim top slopes inwards. Each projection on mid body is encircled by a

double chevron, and there are short strokes in between feet

and mid body projections. (B. tl., inv. 132420)

19 - Very fine,, light grey fabric and burnished surface. Shaped

to perfection. Lugs, one of which is missing, are broad and

pointed. Incised decoration consists of double chevrons filled in with dots. There is a similar band on neck base.

Rather deep incision. (B. M., inv. 132372)

20 - Rather fine fabric, dirty brown in colour. But an inferior

product, poorly shaped and ornamented. Cylindrical neck

bulges in the middle. Three chevrons on the body, and a

discontinuous wavy line at neck base. Only one foot preserved. (Brussels., inv. P. G. 51.1.16, Yortan-Kelembe 10779)

21 - Fine, dark grey fabric. Burnished in similar colour, with

one third of jar showing a reddish brown tone. Two double

and two single chevrons. One of the two lugs and two of the

tripod feet are missing. (Louvre, inv. CA. 1.220 57)

22 - Black/grey fabric. Highly burnished surface is mostly damaged.

About half of jar is in a lighter tone of grey. Pairs of

circles are hung from a single horizontal line at base of

neck. Body is covered with eight chevrons forming a double

zigzag band. (B. M., inv. 132423)

23 - Fine dark grey fabric, with same colour burnished surface.

Rim is everted rather than flanged. A horizontal band at neck

base, and a double zigzag band round mid body. (Louvre, inv.

CA. 1220 40)

24 - Very fine fabric, light brown to buff in colour. Very smooth

surface, possibly slipped. Deep incision in the form of a

141

continuous band of a wavy line and a row of dots. Short

strokes and a single horizontal line at neck base. (Brussels,

inv. P. G. 51.1.14)

25 - Rather fine, red orange colour fabric. Breaks reveal a grey core. This is the only red ware example of this shape. Otherwise shares similar details with the rest. Burnished,

a triple band forms a continuous zigzag on body. Strokes

and a horizontal line at neck base. (Louvre, inv. CA. 1220 45)

26 - Coarser, light grey fabric. Surface is badly worn out and

covered. in white encrustation. A triple band round body and

a single incised line at neck base. Inside jar remains of'a

red substance. (Brussels, inv. A. 2397)

27 - Fine, light grey fabric. Burnished surface of same colour. Three feet. Deep incision consists of four triple chevrons

round body and a horizontal line with strokes at"neck base. (Brussels, inv. A. 2636)

28 - Half of neck is restored, thus obscuring details of fabric.

Surface colour is dark to light grey, burnished. Four inter-

secting triple chevrons round body,, and short lines perpendicular to a horizontal line at neck base. (Brussels, inv.

A. 2633j Yortan-Kelembe 10779)

29 - Coarser, grey fabric. Most of surface is worn out. One

third of jar is in light brown colour. Neck and rim profile differs from the rest; neck flares to rim which is not

everted but thickened with a flat top sloping inwards. Pierced

lugs and knobs are rather small. Ornamentation in between

projections consists of alternating triple chevron and

obliquely set triple zigzag band. (8. M. p'inv. 132421)

30 - Dark grey burnished with a light brown patch. Deep incised

lines are more like grooves. The unusual curvilinear motif

142

is repeated on either side of the body in between two pointed lugs. (Istanbul, inv. 3446)

31 - Fine, grey fabric and burnished surface. Some reddish patches. Neck and one of four feet are missing. A band`of dots and

short strokes round the body forms two broad chevrons. In

"between chevrons, on either side of body, are two short bands

descending perpendicularly from base of neck. Inside jar

traces of a red substance. (Louvre, inv. CA. 1220 70)

32 - Dark grey fabric. Burnished grey surface with brownish

patches. Two lugs are missing. Incised decoration consists

of two intersecting chevrons. In between and on either side

are two small triple triangles filled in with dots. (Louvre,

inv. CA. 1220 76)

33 - Grey fabric which breaks up in flakes. Of the three feet,

one remains. Deeply incised ornamentation is similar to

above; chevrons are filled in with dots, and two "W" motifs

are set in between chevrons, one on either side of upper body. (Louvre, inv. CA. 1220 40)

34 - Fine dark gray fabric. Surface is in poor state of"preser-

vation. One of tripod feet is missing. Two flat lugs and two small knobs. The incised pattern is arranged round knobs;

two bands of strokes, set in a zigzag pattern, form two chev-

rons above lugs. Below knobs are oblique lines and short bands as continuation of chevrons towards feet. (Brussels,

inv. A. 2653)

35 - Smallest jar of the shape. Fine, grey to brown fabric and

surface. Prominent flat lugs. Incision is rather faint.

Above each lug is a band of two parallel lines and dots. In

between lugs, *on either side of body, similar bands, also

perpendicular to neck base; one band consists of double zig-

zag. The second has a different motif. (Brussels,, inv. A. 2634)

143

36 - Very fine fabric and highly burnished. Surface colour is - mostly black. Some reddish patches. One, of four feet is

broken and missing. Ornamentation-consists of, four perpendicular bands of running lozenges, filled in with dots. Short

strokes and a single horizontal line at base of neck. (Istanbul, inv. 3451) 1

37 - Quite fine fabric. Burnished surface is in grey colour and a little darker than fabric. Four perpendicular herring-bone

motifs in between lugs and knobs. (Istanbul, inv. 3447)

38 - Coarser fabric. Burnished surface colour varies between black

and light brown. Largest jar of the shape. Rim is everted

rather than incised, and tripod feet are placed rather close to one another. Four pointed and vertically pierced lugs.

Round body is a zigzag band of dots and short lines., Small

lozenges are suspended from base of neck. (8. M. ß inv. 132424)

SHAPE III Jars with tall neck and on flattened base (Fig, 28-32;

P1. U)

Petrological analyses of a piece from jar of this shape gave the following result:

Black paste (jar neck) The matrix is birefringent in shades of orange and yellow and

contains shreds of muscovite and biotite mica. - Other inclusions are: Horneblende 0.10.2-0.5 mm; occasional

Quartz 0.1-0.3 mm on average. Some grains less

than 0.1 mm and subrounded. Scattered.

Plagioclase feldspar 0.3/0.4 mms subangular; occasional Pumice/volcanic glass 0.1-0.5 mm; scattered Haematite 0.1 mm-and less; scattered

144

Fine., black fabric., Slipped and burnished surface is in uniform black colour with a slight coffee brown undertone. Poor

shaping, one of the four loop handles is missing. Four small knobs in between handles. (Louvre, inv. CA. 1220 11)

2- Small jar, more in the size of previous Shape. Fine black

fabric, and surface with some light brown patches. Rounded

base, and four loop handles. (B. M., inv. 132426)

3- Very fine, light grey fabric and surface colour which is uniform. Tall flaring neck, and sharply everted rim with outward

sloping top. Loop handles tend to take a triangular shape. (B. M., inv. 132370)

4- Hard fired, fine fabric in dark grey. Surface is badly worn

out. Possibly it was coated in a reddish slip. The only

example of Shape where lugs or handles are replaced by solid

and elongated knobs. Also the rim or neck is not pierced for

lid attachment. (Sývre, inv. 10729'7)`

5- Very large jar. Fine grey to black fabric. Burnished probably after slip coating. Poorly preserved surface. Four

loop handles and four knobs on upper body. (Louvre, inv.

CA. 1220 14)

Bar, no, 40 See W. Orthmann, 1966, Ist. Mitt. 16: 12,13.

6- Fine dark grey fabric. Highly burnished. Oxidised patches on

surface of similar colour. Unique shape; a basket handle over

horizontal mouth opening. Four small handles round mid body.

Incised and white filled decoration. (B. M., inv. 132430)

7- Fine, dark grey to black fabric and surface. Burnished. Tall

neck flares to flanged rim. Body is slightly carinated and

stands on small flattened base. Four loop handles, four knobs.

Four triple chevrons in matt white painting. (B. M., inv. 132428)

145

Ber. no. 41 See W. Orthmann, on. cit.

8- Burnished surface is in shades of dark grey and reddish brown.

Tall, cylindrical neck. Four loop handles on mid body. Four

triple chevrons are largely faded out. (Istanbul, inv. 3438)

9- Burnished surface in shades of grey, yellow, and buff colours.

Flaring neck is set on a rather squat body with rounded base.

Badly cracked. Four loop handles. Matt white painted triple

chevrons are again barely visible. (Istanbul, inv. 3438(? ) )

10 - Rather fine grey fabric. Burnished surface is slipped in a darker shade of grey. A large patch is oxidised to light

orange colour. Four loop handles, and four knobs. Double

chevrons (four) are faded. One of the loop handles is

missing. Rounded base and gently flaring neck, (Istanbul,

inv. 3434)

11 - Dark grey to black jar. Burnished. The colour is uniform.,

except for one small patch in light brown. Rather large

body, slightly carinated. Stands on a flattened base. In

proportion, neck is short. One of four loop handles is

missing. Four matt white painted chevrons, each composed

of three wide lines. (B. M., inv. 13242? )

12 - Rather fine jar reflecting all the characteristics of its

type. Fine fabric, but with some larger grains. Slipped

and burnished surface colour varies from black to light

brown. Four loop handles and four knobs. Gently flaring

neck is set crooked on body. Four quadruple chevrons in

white/light grey colour painting. (Louvre, inv. CA. 1220 13)

13 - Intact jar. Black, well burnished surface turns light brown

to buff colour on one side. Tall, flaring neck and rounded base. Four loop handles and four knobs on mid body. Four

triple chevrons in faded matt white painting. (B. M.,

146

inv. 132429)

14 - Fine fabric, but rather thick walls. Burnished surface is

mostly greyish colour with a buff/yellow undertone. Tall,

cylindrical neck, small flattened base. Loop handles are

set on upper body. Four continuous quadruple chevrons in

matt white. (Istanbul, inv. 3435)

15 - Rather large jar, in fine and hard fired fabric. Two thirds

of surface is in light brown. The upper parts are in grey.

Large, globular body sits on slightly rounded base. Four

loop handles, four knobs, and four quadruple chevrons,

painted in white. (Louvre, inv. CA. 1220 12)

16 - Very fine, grey fabric. Smooth surface is in a light grey

and brown colour. Rounded body does not stand on base.

Four loop handles and four small knobs. (Sevres inv.

10729 4)

17 - Coarse but hard fired fabric, coated in red orange slip.

Some darker patches. It is a thickly made jar. Four loop

handles and four, flat knobs on upper body. (Sevres inv.

10729 5)

Ber. no. 38 See W. Orthmann, 1966, Ist. Mitt. 16: 101,11.

SHAPE IV Small jars with short neck or hole-mouth (fig. 32s 33;

Pl. VI)

1- Coarser fabric, fired hard and in uniform light grey. Surface

appears to be smoothed only. Two rounded lugs. Short collar

neck is pierced in two places for attaching lid. - Flattened

base. (B. rl., inv. 132415. )

Ber. no. 61 See W. Orthmann, 1966, Ist. Mitt. 16: 16j19.

147

Ber. no. 57 See W. Orthmanny op. cit., p. 16y 19.

2- Heavily encrusted in lime obscuring details of fabric and

surface. Fabric appears to be quite fine in light grey which is also the uniform surface colour. Four lugs, pierced vertically with large holes. Hole-mouth where there are also holes for attaching lid. Tripod feet are partly missing. Incised decoration is shallow, careless, and without white filling. Two triple chevrons, and two bands of dots. (St. Ger., inv. 58579)

3- Fine fabric., and highly burnished. Lower parts of body are

in light brown, and the upper parts, including short collar

neck in dark grey to black colour. Four large lugs pierced

vertically with large holes. Tripod feet. (B. M.., inv.

132416)

4- Intact jar. Probably quite fine fabric. Two-thirds of bur-

nished surface is dark grey and brown. Four vertically

pierced lugs. Stands on four feet. Incised chevrons. Inside

jar are traces of a red substance. (Louvre, inv., CA. 1220 39)

5- Fine dark grey fabric. Some burnishing. Globular body stands

on short pedestal base, flaring slightly. Four crescent shape lugs, vertically pierced. Incised decoration on the dark . surface is in the form of four perpendicular, triple running

lozenges on body and a horizontal hatched band on pedestal base. (B. M., inv. 132417)

Ber. no. 49 W. Orthmannq 1966: 16: 130 14.

6- One of the finest products of the collection. Very fine, grey

fabric is slipped and burnished to a black lustrous finish.

Four pointed lugs. Short neck and pedestal base flare. In-

cised and white filled ornamentation consists of two triple

lozenges alternating with two perpendicular running lozenges.

148 148

There is a single horizontal wavy line on pedestal base.


SHAPE V Lids (Fig. 330 34; P1. VI)

Type (a)

Fabric, surface treatment, and incised ornamentation identical

to those of jars Shape II and IV. Except for no. 3. shape is convex in profile. A central knob serves as lid handle. Always two or

more holes on either side of central knob serve to attach lid to the

related jar.

1- Burnished exterior is black, and interior in grey colour. No

ornamentation. (B. M., inv. 132433)-

2- Coarse fabric. Light grey to light brown-colour. Without

decoration. (B. M.,, inv. 132431)

3- Coarse fabric. Black surface colour. Possibly burnished.

Four holes. Central knob-is off centre. (B. M.,, inv. 137439)

4- Rather fine, black to grey fabric. Well burnished surface in

similar dark colour. 2635)

Chipped on one side. (Brussels, inv.

5- Burnished surface black to light grey on outside, and reddish inside. (B. M., inv. 132434)

6- Highly burnished, black to gray surface. Central knob is

missing. Also broken round edges. (8. M., inv. 132440)

7- Burnished surface, light grey in colour. Central knob is

rather small. (B. M., inv. 132435)

149

- Burnished inside and outside, dark grey to light brown in

colour. (B. M., inv. 132436)

9 '- Rather fine dark grey fabric. ' Burnished inside and outside,

in a lighter tone of grey. (St. Ger., inv. 58579)

10 - Rather fine'fabrics and regular shaping,, -: Dull surface colour

varies-between grey and black, with some brown undertones.

(Brussels., "inv. A. 2658)

11 - Centre part'is poorly preserved. Fabric is greyish in colour.

Burnished outside in . leather brown, but grey inside.


12 - Grey to black outside, reddish inside. Two rather large

holes. Central knob is mushroom shaped. (8. M., inv. 132437)

13 - Burnished, light grey colour, with a brown tone. Inside are traces of a red substance, similar to those found in some of

Shape III jars. (Brussels, inv. A. 2659)

14 - Burnished surface in black colour. Rather prominent convex

profile, almost conical. Two holes are obliquely pierced. (B. M., inv. 132438)

15 - Rather coarse product. Some burnishing inside and outside.

Dark grey in overall colour. Partly broken. (Brussels,

inv. 2633)

16 - Highly burnished inside and outside. Grey colour. (Louvre,

inv. CA. 1220 (40 bis) )

17 - Burnished, grey surface. Prominent central knob. (Louvre.,

inv. CA. 1220 64)

150

Type (b)

Fabric, surface treatment and decoration, as above. In shape,

more like a small, shallow cup with straight sides. On flat top,

four flat knobs round the central knob.

18 - Burnished inside and outside. Four holes, one in front of

each knob round the edge. Central knob is quite conical. (B. M., inv. 132441)

19 - Burnished, grey in colour. Traces of a red substance on interior. (Louvre, inv. CA. 1220 42)

Type (c)

20 - Irregularly shaped, coarse vessel. Fabric is dark grey. Outside surface mostly in light brown. Smooth surface is

bumpy, possibly coated in thin slip. The base, or top of

vessel is slightly convex, and round the edge are four

roughly shaped lugs, pierced vertically. On one side between

rim and lugs is a pair of holes pierced horizontally, which

corresponds to those of lug above. This is the only vessel

of its type at Yortan and probably belongs to a large jar

with tall neck. (Sevres inv. 10729 1)

SHAPE VI Juglets (Fig. 35; Pl. VII; Pl. XX, no. 12)

Smallest vessels of Yortan repertoire. Overall shape does not

vary; tripod feet are found an all pieces, except no. 13; body is

round or pear-shaped; spout is beak-like or cutaway. Fabric is

rather fine, probably slipped and burnished. Linear decoration is

exclusively incised and often white filled.

1- Fine black fabric, highly burnished. Feet are large and

151

cornered. One foot and part of handle restored. Body slightly

carinated below incised upper part. Small pouring channel of

neck is blocked by a corroded piece of metal. (B. M., inv.

132402)

2- Dark grey fabric. Burnished surface is similar colour. Feet,

loop handle and part of spout are missing. Three small knobs

round mid body. Angular neck. (Louvre, inv. CA. 1220 44)

3- Light brown and grey fabric. Burnished., One foot is missing.

Cutaway type spout. (B. M. 9 inv. 132373)

4- Light grey and brown fabric, and burnished surface. Feet are

partly broken. Beak spout. (Paris Inst., no. 22)

5- Dark grey to light brown fabric. Surface badly worn out.

One foot restored. Cutaway type spout. (B. M. 9 inv. 132401)

6- Black fabric, burnished to lustrous surface. But irregular

incision. Tip of spout is notched forming a double pointed

lip. (8. M. 9 inv. 132400)

7- Dark grey fabric. Black burnished surface. One foot and loop

handle are missing. Angular neck. Notched spout tip.

(Brussels, inv. A. 2645)

8- Dark grey to black fabric and burnished surface. Four perpen-

dicular strips of herring bone motif round body. Neck is

completely missing. (8. Pi., inv. 137502)

9- Grey fabric and surface colour. Uniform. Possibly burnished.

Three small knobs round mid body. Incised pattern is repeated

round each knob. Almost vertical beak spout. Loop handle is

more- prominent than on other juglets. (Louvre, inv.

CA. 1220 34)

152

10 - Light grey fabric. Burnished surface changes from light to

darker grey. Only body remains intact. (Louvre, inv..

CA. 1220 77)

11 - Dark grey fabric and surface colour. One foot partially

restored. Beak spout with notched tip. Incised decoration

is more elaborate than on other juglets. (Brussels, inv.

A. 2643)

12 - Very fine, intact vessel. Fabric is in a light brown colour. Surface slipped and burnished to a lustrous red brown colour. Loop handle angular in section. Neatly executed, deep inci-

sion. White filled. (Louvre, inv. CA. 1220 7)

13 - Reddish brown fabric. Slipped and burnished in same colour. Rounded base without tripod feet. Spout tip broken., motif., four round upper body. - (Louvre., inv. CA. 1220 )

SHAPE VII Small jugs with obliquely cut spout (Fig. 36,9 37;

P1. VII)

Overall shape consists of round, globular or slightly carinated body, a loop handle, flat or round in section, and a, beak spout. Most pieces are burnished and some have slip coating. -Linear deco-

ration is exclusively in faded matt white painting.

1- Intact jug., -thickly made. Fabric probably quite fine. Highly

burnished surface in black colour. Vertical strokes on neck. Base cut flat but uneven. Thick loop handle. Horizontal mouth is slightly pitched to form a spout. (B. M., inv. 132378)

2- Fine fabric. Surface colour varies from black to light brown.

Some burnishing. Tall, beak spout. Neck bulges at base.

(B. M., inv. 132371)

153

3- Coarse fabric. Part of rim and neck in light-yellow, reddish

colour. Rest in black. Three small knobs round mid body.

(B. M.., inv. 132382)

4- Fine, black to grey fabric. Similar surface colour. Bur-

nished. Loop handle is missing. Broad neck and spout. (Louvre, inv. 1220 58)

5- Broken handle is restored, obscuring fabric. Probably quite fine. Burnished surface mostly black, some brown oxidised

parts. Carinated body on rounded base. (Brussels, inv.

A. 2647, Yortan-Kelembe 10712)

6- Rather fine fabric. Burnished surface in dark grey. Beak

spout and neck partly in light brown. Very well made overall

shape represents all the characteristics of the shape; round

body sits on rounded base, loop handle is flat in section.,

and tall beak spout has a bulging lower part. Additional is

a smaller, second loop handle on front of body. (Brussels,

inv. P. G. 51.1.4)

7- Very fine jug. Fine, dark grey fabric. Highly burnished

surface, yellow brown on lower parts of body, and black/dark

grey on upper body and neck. One loop handle, and three

smaller and angular handles round mid body. Most of spout is missing. (Louvre, inv. CA. 1220 59)

8- Fine fabric, break up in flakes. Surface colour in light

grey and brown. Three small knobs round mid-body. (Louvre,

inv. CA. 1220 68)

9- Very fine, hard fired fabric. Dull surface colour of grey.

Three., small knobs on upper body. (Brussels# inv. A. 2644,

Yortan-Kelembe 10712)

10 - Coarse'fabrics crumbles due to low firing temperature. Surface

a 154

colour, mostly dark grey, some brown. Very broad neck and

spout. The rim and parts of loop handle eroded. Three pairs

of knobs on mid body. (Louvre, inv. CA. 1220 89)

11 - Broken handle and spout restored. Fabric probably quite fine.

Highly burnished black surface. Three pairs of small knobs

on mid body. (Brussels, inv. A. 2649p Yortan-Kelembe 10779)

12 - Fine fabric. Light grey to brown surface colour. Plastic

decoration consists of three crescents round mid body.

(B. M., inv. 132385)

13 - Fine fabric. Surface colour grey to brown. Burnished.

Slightly carinated body. Three triple chevrons, and three

small knobs. (B. N., inv. 132391)

14 - Fine, hard fired fabric. Slipped and burnished black jug.

Twisted loop handle. A second, small handle on front body

and one of tripod feet are missing. Four double chevrons.

Two small knobs. (Louvre, inv. CA. 1220 )

15 - Coarse., dark grey/black fabric. Breaks easily. Same colour

surface. One third of jug is missing. Triple chevrons, and

pairs of small knobs. (Louvre, CA. 1220 81)

16 - Burnished, uniform black jug. Three pairs of triple chevrons,

faded in matt white colour. Three pairs of small knobs, one

in each chevron. (B. M., inv. 132393)

17 - Coarser fabric. Colour varies between black and light brown.

Stands"on pointed tripod feet. Body carinated. Three sets

of carelessly drawn double chevrons. Three pointed knobs.

(B. m., inv. 132399)

18 - Fine fabric, in dark grey colour. Surface is'coated in a

slip of light grey and pinkish colour. Three sets of triple

155

chevrons, hardly visible. Three pointed knobs on upper body. (Istanbul inv. 3408)

19 - Irregularly made, thick jug. Possibly slipped and burnished.

Surface colour is light brown and grey. Carelessly drawn

chevrons, largely faded out. Three pairs of small knobs.

Irregular rounded base. (Louvre, inv. CA. 1220 85)

20 - Coarse, light brown fabric. Slip coating in red. Round

body. (8. M. ß inv. 132379)

21 - Coarse, dark grey fabric., Coated in a thin pinkish slip. Rather tall spout. Three knobs on upper body. (Brussels,

inv. A. 2648)

Ber. no. 8 See W. Orthmann, 1966, Ist. Mitt. 16: 3s 4.

SHAPE VIII Larger jugs with obliquely cut spout (Fig. 38-44;

Pl. VIII)

Commonest shape in the Yortan repertoire. Overall outline identical to previous Shape. Ornamentation is in plastic or chevron

motif in matt white painting. Fabric coarser than that of smaller jugs.

1- Coarse grey fabric. Lower body in grey colour. The rest

reddish brown. Slip coating is mostly eroded. Three small knobs. Loop handle and parts of body missing. (Louvre, inv.

CA. 1220 55)

2- Medium fabric, fired hard. Surface colour in dark grey and

light brown. Four button-like knobs on upper body; two are

placed on front as a pair. (Louvre, inv. CA. 1220 86)

3- Fine fabric. Well burnished surface, mostly black. Slightly

carinated body on small flattened base. Three small knobs on

156

upper body. Well-made loop handle, flattish in section. Rather a successful product. (6. M. ß inv. 132369)

4- Fine black fabric. Burnished black surface. A brown patch

round loop handle. Three small knobs on body. (Louvre, inv.

CA. 1220 26)

5- Quite fine, grey fabric. Dull surface colour in grey and buff. Flat loop handle is missing. (B. M., inv. 132380)

6- Well burnished surface, in black and reddish brown colour.

Round body sits tilted forward on small, flattened base.

Tall beak spout shows considerable bulging in middle. One

of the more striking examples of Shape. (Paris Inst., no. 73)

7- Rather coarse fabric. Possibly slipped, colour varying bet-

ween dark grey and light brown. (Louvre, inv. CA. 1220 92)

8- Rather coarse fabric, thick walls. Uneven surface. Dark

slip, well burnished. Loop handle broad, and quite angular in section. Flattened base. (Louvre, inv. CA. 1220 23)

9- Fine, black fabric. Burnished surface of same colour. Triple

chevrons mostly washed out. Three button-like knobs, one below handle. Loop handle and part of spout missing. (Louvre, inv. CA. 1220 87) -

10 - Fine., dark grey fabric. Neatly produced jug, in perfect pro-

portions. Well burnished surface is black without oxidised

patches. Three triple chevrons, drawn in regular lines.


11 - Slipped and burnished dark grey/black surface. Large, glo-

bular body on flattened base. Matt white painting of triple

chevrons is thickly applied. Four pointed, and slightly

157

angular knobs. (8. M. ß inv. 132392)

12 - Probably fine fabric, rather thin walls. Slipped and burnished

surface in black to light brown colour. Globular body

stands on small flattened base. Neck flares to form beak

spout. Most competent product. Three pairs of triple chev-

rons, with one small knob in each chevron. (Sevre,. inv.

10729 11)

13 - Coarse fabric. tends to crumble up. But a smooth surface finish due to slip coating and burnishing. Black/dark grey in colour. Twisted handle and tip of spout broken. Triple

chevrons, and three small knobs. (Louvre, inv. CA. 1220 21)

14 - Medium fabric. Probably slipped and burnished. Overall

colour is dark grey, but with a red/brown lower part. Faded

triple chevrons. Four small knobs, one on base of loop

handle. (Istanbul, inv. 3398)

15 -A perfect example of Shape. Well fired, fine fabric. Slipped

and burnished surface, black in two thirds. Round body stands

crooked on small flattened base. Tall beak spout, flanged

near rim. There are five quadruple chevrons, one at front,

and a pair on either side. (Sevres inv. 10729 9)

16 - Medium coarse fabric. Slipped and burnished. Colour varies between-black and light brown. Three pairs of triple chev-

rons, and three pairs of knobs inside chevrons. Flattened

base. (Istanbul, inv. 3399)

17 - Rather coarse fabric. Coated in slip and burnished. Two

thirds are in black. Chipped rim. Broad handle, and slightly flattened base. Triple chevrons, matt white paint is thickly

applied. Three small knobs inside chevrons. (Istanbul,

inv. 3400)

158

18" - Medium fabric, low fired and breaks easily. Slipped and bur-

nished surface in black colour. Some light brown patches.

Three quadruple chevrons where matt white paint is well pre-

served and stands in striking contrast to darker background.

Spout is missing, and body badly cracked. (Paris Inst.,

no. )

19 - Black,, burnished surface. Slightly carinated body, small flattened base. Loop handle angular in section. Three

triple chevrons in faded matt white painting. Three crescents.,

one in each chevron. (Paris Inst., no. 15)

20 - Coarse fabric, red brown. Red/orange slip coating. Some

grey patches. Poor shaping. Cracked front body could have,

been caused by faulty firing conditions. (Louvre, inv.

CA. 1220 65)

21 - Coarse, light brown fabric. Red slip coating, some black

patches. Three knobs. Loop handle is missing.

inv. 132383)

(8. m.,

22 - Coarse, light brown fabric. Poorly preserved surface. Appears to have red/orange colour slip. coating. Some black

patches. Three pairs of small knobs on upper body. Handle

and part of spout missing. (B. M., inv. 132384)

23 - Coarse, reddish fabric with grey core. Thin red/orange slip

coating, possibly not burnished. Three pairs of horn-like

knobs round mid body. Neck and handle are completely missing. (Louvre, inv. CA. 1220 96)

24 - Coarse, reddish fabric. Similar colour slip coating, but

with black patches. Rather rough product. Originally had

quadruple chevrons, now barely visible. Very broad loop

handle, rounded base. Spout is badly chipped. (Istanbul,

inv. 3404)

159

25 - Coarse, red-brown fabric. Surface coated with a thick red

orange slip and burnished. Despite unrefined fabric., walls

are thin, and overall shape in good proportions. Jug sits tilted forward on a small flattened base. Broad, flat handle. Three triple chevrons. (B. M., inv. 132389)

Red/brown paste

Birefringent from orange to yellow,, Horneblende - 0.2 mm;., infrequent

Quartz 1 mm-0.5 mm angular, subangular

and sub-rounded; frequent

Polycrystalline quartz- 0.2 mm;. -infrequent Feldspar 0.5-0.1 mm sub-rounded; occasional Pumice/volcanic glass 0.5-0.1, with a mean of 0.3 mm;

frequent

Haematite 0.5-0.1 mm; scattered

26 - Medium fabric, but rather thin walls and fired hard. A reddish, dark brown slip. One side is largely restored. Rather

squat body which does not stand on rounded base. Very broad

neck and spout. Triple chevrons with a pair of prominent knobs in each chevron. Overall shape is similar to "Kusura

Cup" of south-west Anatolia. (St. Ger., inv. 58567)

SHAPE IX Small jugs with cutaway spout (Fig. 45p 46p 47;

P1. IX;. XX., no. 3.16)

Fabric texture varies between fine and coarse. Often mottled

colouring due to uneven firing conditions. In overall shape the,

characteristic feature found on every jug is the cutaway type spout. Round or globular body has a small flattened base or rarely tripod

feet. Ornamentation is in plastic and matt white painting.

7- Quite fine fabric, thin walls. Dark grey surface with reddish

patches. Possibly burnished. (Brussels, inv. A. 2646,4

160

Yortan-Kelembe 10779)

2- Intact jug. Surface is a light grey, thin slip. It does not

stand up on round base. Cutaway neck pressed on either side forming a bifoil-like spout. Loop handle and upper body

covered with plastic ribs. (Louvre, inv. CA. 1220 6)

3- Intact jug. Slipped and burnished in uniform black lustrous

colour. Squat body, very tall spout with everted rim. A

faultless product. (Paris Inst., no. 10)

4- Coarse jug. Thin slip coating. Surface colour is a mixture

of grey, reddish and dirty light brown. Shaping is also

rather rough. (Istanbul, inv. 3423)

5- Rather fine, uniform black jug. Body slightly carinated.

Angular handle. Lip of rim is flat and everted. Four oval

knobs at point of carination. (Istanbul, inv. 3424)

6- Thickly made jug. Slipped and burnished. Surface colour

varies from dark grey to light brown. Flat lip of rim, everted.

Three knobs on upper body. (Istanbul, inv. 3414)

7- Medium fabric. Burnished surface in black and red brown.

Largel'globular body on tripod feet. End of spout missing. (Istanbul, inv. 3429)

B- Fine fabric, thin walls. In uniform dark grey colour. Round

body stands on tripod feet. One foot and loop handle are

lost. Three pairs of horn-like projections round mid-body.

Along cutaway part of the spout rim sharply everted and flat

topped sloping inward. Partly restored. (St. Ger., inv. 58..... )

9- Thickly made, fine jug. Surface colour is in black and light

brown. Cutaway spout with everted rim. Three sets of triple

chevrons. Four plastic bars are placed across chevrons.

161

Tripod feet are partly restored. (St. Gar., inv. 58591)

10 - Very fine jug. Thin walls. Probably slipped and burnished.

Surface colour mostly black with a large patch in lighter

brown and yellow. Rim everted at top of cutaway spout. Flat

lip of rim. Three very regularly drawn quadruple chevrons. One small knob on either side of spout. (Istanbul, inv. 3410)

11 - Coarse jug,, grey fabric with large grains of mica and other inclusions. A blackish surface colour with red brown undertones. Roughly shaped. Most of spout missing. Chevrons

drawn irregularly, more like paint running down over the sur-

face. Three pairs of small knobs. At base of neck on front

is a small plastic feature. (Louvre, inv. CA. 1220 22)

12 - Fine, dark grey fabric. Surface colour is black in two thirds.

A large patch in light brown. Slightly carinated body. Broken

handle. Tip of spout is missing. Three sets of triple chev-

rons, and three small knobs. (St. Ger., inv. 58528)

13 - Neatly produced shape. But surface colour, perhaps in a thin

slip coating, is confused. Dark grey and light brown where the painted chevrons hardly stand out. Small flattened base,

off centre. Five quadruple chevrons intersecting one another

at mid body. Three pairs of small knobs, and a pendant-like

feature at neck base. Spout badly cracked. (B. M., inv.

132394)

14 - Medium fabric. Slipped and burnished surface mostly black.

Handle and its base oxidised to light brown. Very well made

jug. Upper part of spout is missing. Everted rim with knobs

on either side. Ornamentation on body consists of three quad-

ruple chevrons, four hatched lozenges, and four plastic cres-

cents, one on tip of each chevron. (Istanbul, inv. 3420)

15 - Rather small jug, but fabric coarse and grey in colour.

162

Surface is slipped and burnished in red brown. Two small knobs on spout, one on either side. Four crescents on body

and a small knob on front of body. The loop handle and one crescent are missing. The place of the lost crescent is

marked by an incised line. (Louvre, inv. CA. 1220 17)

Ber. no. 22 See W. Orthmann, 1966, Ist. Mitt. 16: 6p 9.

16 - Very fine jug, with perfect finish. Coated with ,a thick red brown slip, and highly burnished. A small plastic feature

at base of neck on front. (Louvre, inv. CA. 1220 9)

17 - Fine fabric ip grey. Surface in red/orange slip, and bur-

nished. Rather large and round body that does not stand up

on round base. Rim is sharply everted. Flat rim line. A

faint incised line round neck base. (Louvre, inv. CA. 1220 48)

SHAPE X Larger jugs with cutaway spout (Fig. 48-64; P1. X;

P1. XX, no. 19)

Very fine and very coarse fabric rare. Mottled surface colour,

often slipped and burnished. Shape identified by the cutaway spout. A single loop handle, oval or angular in section. Body is round or

globular and stands on rounded base or rarely on tripod feet.

1- Rather thick and heavy jug. In dull dark grey. colour with

light brown patches. Smoothed or burnished. Relatively short

spout. Knobs on spout, and three plastic crescents on upper

body. There is an elongated'knob on front at base of neck. (8. M. ß inv. 132367)

2- Well burnished surface, mostly in dark grey colour. Some red-

dish parts near handle. Rather beak-like spout, thick loop

handle. Three sets of triple chevrons drawn with precision. (Brussels, inv. A. 2651)

163

3- Fine., hard fired fabric. Well burnished surface, half in black

and half in brown. Pear shaped body, topped with a rather

narrow and short spout, partly missing. Knobs on spout below

rim. Four plastic crescents on mid body. On front upper body'are three flat knobs suspended from base of neck. (8. N. ß inv. 13236)

4- Rather large jug. Fine, dark grey fabric. Surface slipped

and burnished'in black colour with some light and reddish brown.

Vertical strips indicate application of slip by brush or cloth.

Spout mostly'missing, knobs on either side. Very large. body

is slightly carinated in the middle. Three painted knobs.

(Istanbul, inv. 3416)

5- Large jug, -and quite intact. Well burnished, mostly in dark

grey. Spout is rather short, and the pouring channel rather

narrow. Knobs on, spout and body. (Brussels, inv. A. 3408)

6- Medium fabric, possibly slipped and burnished. Mostly in dark

grey, mixing with buff colour. Chevrons are mostly faded out

and hardly visible on lighter background. Matt white paint

(lime) is for some reason grey and actually darker than the

surface of the pot. (B. M. p inv. 132368)

7- Coarse fabric but fired hard. Surface in dark grey colour,

quite uniform. Cutaway spout shows a distinctive profile.

Three sets of triple chevrons, and three knobs. (St. Ger.,

inv.

8- Large jug in dark grey colour. One side has a brown patch.

Lime encrustation obscures details. Large, globular body on

rounded base. Short spout has everted rim. Below rim are two

knobs but elaborated to resemble "earrings"; each consisting

of an obliquely set,, elongated knob with a round disc stuck to

it. Neck base is ornamented with a "necklace" in the form of

seventeen conical knobs. Below on upper body are three broad,

164

divided crescents. (St. Ger., inv. 58563)

9- Fine fabric. Burnished surface in dark grey. But on either

side of body large areas in reddish brown. Rounded and large

body is covered by two quadruple chevrons in faded matt white. Spout broken. A pot mark impressed into handle base.

(S. M., inv. 132390)

10 - Slipped and burnished black jug, with a coffee brown undertone. Thin walls. Rim of cutaway spout is everted. Small

knobs on spout are on either side and placed below rim.

Faded triple chevrons on body and also plastic crescents,,

three altogether. (Istanbul, inv. 3401)

11 - Rather fine jug. Fabric is fine, and walls very thin. Slipped

and burnished. Mostly black with reddish brown patches. Over

very smooth surface three sets of quadruple chevrons are

hardly visible. (Istanbul, inv. 3418)

12 - Medium, grey fabric, fired hard. Thin walls. Burnished black

surface, turns reddish brown near-handle. Tripod feet partly

broken. Base of loop handle is "V" shape. Two knobs on spout

near handle. Four pairs of plastic crescents on-upper body.

Originally it had the chevron motif in matt white, now almost

completely erased. (Louvre, inv. CA. 1220 17)

13 - Medium grey fabric. Burnished black surface mottled with red

orange. The loop handle and part of spout are missing. Six

chevrons, either triple or quadruple. There is one prominent

knob in each chevron. A small plastic motif at base of neck. (Louvre, inv. CA. 1220 97)

14 - Uncleaned surface, badly eroded, conceals technical details.

Probably slipped and burnished in black colour. It is a tall

jug standing upright on flattened base. Everted rim with

flat lip. In circumference neck is not round but angular.

165

Two pointed knobs on spout, one on either side and below

everted rim. On upper body are four pairs of sweeping crescents, also slipped and burnished. (St. Car., inv. 58564)

15 - Slipped and burnished, mostly in black colour. Rim of cut-

away spout everted. On upper, globular body are four flat

knobs, each with a slightly sunken centre. (Louvre, inv.

CA. 1220 15)

16 - Surface colour in dull black to reddish brown. Below handle

body is carinated which becomes rounded towards front. Rather

large and tall spout, flaring and with everted rim. Two knobs

on spout near handle, six more on upper body. A short plastic line at neck base. (Brussels, inv. A. 3409)

17 - Well burnished black surface. Typically tip of spout is in

light brown. Overall shaping most competent; tall cutaway

spout flares in upper parts, everted rim. Restored at neck base. On body are three pairs of crescents. (Brussels, inv.

A. 2638)

18 - Tall jug with fine black fabric and burnished surface. Some

reddish brown patches. Everted rim, flat lip that slopes

outward. Body slightly carinated. Three small crescents in

plastic. (B. M., inv. 132387)

19 - Fine grey fabric, hard fired. Burnished black surface mottled in light brown and red. Rather well made product. Tall cut-

away spout with everted rim. Knobs on either side. Six

quadruple chevrons are evenly drawn, each enclosing one pro-

minent knob. (Paris Inst., no. 16)

20 - Rather successful product. Burnished, black in colour. Small

hole on one side near handle. Three sets of quadruple or triple chevrons. (Louvre, inv. CA. 1220 91)

166

21 - Medium fabric. Surface colour black on upper and light dirty

brown on lower parts of body. Top of spout is missing. Two

crescents on either side of spout under everted rim. Globular

body ornamented with eight triple chevrons and four plastic

crescents. (Louvre, inv. CA. 1220 18)

22 - Burnished surface mostly in black. Tall cutaway spout, form-

ing a broad, shallow pouring channel. Everted rim. Slightly

carinated body covered with intersecting quadruple chevrons. Towards lower parts of body, lines of chevrons break away

from the rigid parallel motif and make sweeping curves. Four

pointed knobs, one in each chevron. (6. M. ß inv. 132396)

23 - Burnished black jugs. Handle and some other patches oxidised

in light colour. Cutaway spout is tall and broad as previous

jug, no. 22. Three sets of holes on either side of a break

in mid spout indicates broken and repaired at the time of its

production and use. Three pairs of triple chevrons, three

pairs of small knobs. Two oval knobs on spout below everted

rim. (B. M., inv. 132395)

24 - Broken and restored. Well burnished black jug. Tall, shallow

cutaway spout, as-above. Body in pear shape with a flat loop

handle and flattened base. Three sets of quadruple chevrons

and a small plastic feature on front at neck base. (St. Gar.,

inv.

25 - Very fine jug. Broken spout restored, obscuring fabric.

Slipped and highly burnished. Mostly black. Angular loop

handle and below in light brown. Tall, elegant spout and

balloon-like round body on tripod feet with corners. Two

elongated knobs on spout below rim and near handle. One

small knob on front of body. Four triple chevrons. (Istanbul, inv. 3428)

26 - Fine jug. Surface details obscured by lime encrustation.

167

Appearsýto be mostly in black colour with red brown and yellow

mottling. Loop handle and part of spout missing. Everted

rim. Pear shaped body with a small flattened base. Two

plastic strips with transverse grooves on spout below rim. On body are four pairs of sweeping crescents in low relief. A small plastic feature, "pendant". on neck base in front of

pot. (St. Ger., inv. 58541)

27 - Dull surface colour is grey with red patches. As above top

of cutaway spout is horizontal rather than slanting. Everted

rim. Spout narrows down towards neck base. Five pointed

knobs round mid body. (Louvre, inv. CA. 1220 93)

28 - Burnished surface, coated with red slip. Some reduced patches

in dark grey. Top of spout slants towards front of the pot.

Globular body'does not stand on rounded base. Three sets of

horizontal bars on upper body. (St. Ger., inv. 58565)

29 - Fine fabric, fired hard in black colour. Similar surface

colour. Deep pouring spout with everted rim which becomes

flanged in middle part of the cutaway section. Flat rim lip.

Loop handle is quite angular in section. Globular body on

distinctly flat base. Two knobs on spout, below rim.. Also

in plastic are three sets of double chevrons inside white

painted quadruple chevrons. At the back, on either side of

the handle, two perpendicular running double lozenges, one on

either side of handle. (B. M., inv. 132397)

30 - Large jug, surface in black/dark grey colour and well burnished.

Two knobs, on spout, are on either side and below rim. Glo-

bular body on round base is ornamented with four quadruple

chevrons in faded matt white painting. (St. Ger., inv. 58532)

31 - Dark grey fabric and surface colour, covered in. lime encrus-

tation. Brown in parts. Unusual loop handle, made up of

thin strips of clay stuck together. Broken and parts missing.

168

Also one of tripod feet restored. Tall, straight spout has

two short plastic protrusions, one on either side. Pear

shaped body ornamented with four quadruple chevrons and six knobs. (St. Ger., inv. 58560)

32 - Fine fabric in dark grey colour. Surface slipped and bur-

nished in black. Tall cutaway spout, everted rim with flat

top. Flat, strap like handle. Carinated body where on upper

half are plastic lines, a pair on either side and three on

front. This and the following jugs no. 33,34 differ from

the rest in having a taller spout, sharper details and markedly

carinated body. (Istanbul, inv. 3413)

33 - Thickly made pot. Slipped surface in dark grey with a , red-

dish undertone. Fine lines on surface indicate application

of slip by brush or cloth. Rather broad and shallow-pouring

spout. Everted rim. Handle flat in section, and at base a

plastic bar extending to the width of the handle. Markedly

flat base with body-that reaches the widest contour in the

upper half. Three sets of triple chevrons mostly faded out.


34 - Burnished jug, mostly in black or dark grey colour. Rather

thick walls. Striking form of cutaway spout, marked by a

sharply everted rim with flat top. Body carinated in the

middle, small flat base. On the upper half are three sets

of triple plastic lines, perpendicular to neck base.


169

SHAPE XI Jugs with flanged rim and side spout (Fig. 65; Pl. XI)

1 Intact., small jug. Surface colour in dark grey and light

brown. Possibly had slip coating. On one side of body a

side spout. Single loop handle. Slanting spout with a

characteristic flanged rim. (B. M., inv. 132398)

2- Fabric finer than above, but liable to break up in flakes.

Burnished surface in grey and light brown colour. One side

spout on body, four plastic crescents on upper body and one knob on front. Most of slanting spout and flanged rim missing. (Louvre, inv. CA. 1220 )

3- Similar-to above. Only there is a double side spout, and six

knobs; one is on the front, a pair below loop handle within

the crescents, one at handle base, and the remaining two on

either side of body. (Louvre, inv. CA. 1220 5)

4- Thick, sturdy pot. Slipped and burnished surface in dark grey.

Broad, flattened base. Spout and rim as above. Double side

spout, one is missing where a small hole pierced into body of

pot. (St. Ger., inv. 585... )

5- Rather fine jug, slip coating in red orange colour. Body

slightly carinated and does not stand on rounded base. Slant-

ing spout similar to above but rim everted rather than flanged.

Two loop handles, smaller one placed on front body. One side

spout. (St. Ger., inv. 58575)

6- Rather fine jug. Breaks reveal dark brown and gray fabric.

Surface in dark red slip. Thin, hard fired walls. Globular

body which does not stand on rounded base. Part of slanting

spout and flanged rim missing. Single side spout set on body

in an upright angle. (St. Ger., inv. 58547)

170

SHAPE XII' Larger jugs with flanged rim (Fig. 66-69; Pl. XI;

Pl. XXI, no. 3.7)

1- Burnished surface in black and grey. Slanting spout with a flanged rim. Thin oval mouth opening is broader near tip of

spout and narrows down towards handle. Large body ornamented

with three plastic crescents. Although lacking in striking

qualities, the pot is the product of careful and competent

craftsmanship. (Brussels, inv. A. 2639)

2- Rather fine jug. Slipped and burnished in black. Elegant,,

angular loop handle, slanting spout with flanged rim. Pear

shaped body ornamented with plastic chevrons in triple groups. Three sets are round mid body and the third at handle base.

Also small "pendant" feature at neck base. (Louvre., CA. 1220 8)

3- By far the most successful and striking product of the site.

Black to light yellow brown slip is burnished to a lustrous

reflection. Very large, squat body topped by tall cylindrical

neck with slanting spout and flanged rim. Elegant loop handle,

rather "metallic" in triangular profile. Ornamentation is

plastic; four sets of curving lines; the two front sets are

composed of four lines each, while those near the handle are triple. A smaller double chevron at handle base. Then on

base of neck a "pendant" like feature suspended from a raised

line round base. At the back, below handle, is a "knot"

attached-to this line. (B. M., inv. 132388)

4- Fine jug, slipped and burnished. One half is in black, the

rest in reddish brown. End of slanting spout and flanged rim

is missing. Ornamentation on body in matt white painted chev-

rons. Three quadruple chevrons, and a fourth triple set

at handle base. Small "pendant" feature at neck base.


5- Similar to above jug. More rounded body and lighter grey

171

surface colour. Triple chevrons in matt white painting hardly

visible. (Istanbul, inv. 3397)

6- Fine, large jug. Slipped and burnished surface in black. Only at the tip of spout, oxidised patch of light brown, buff

colour. Quadruple chevrons in matt white painting. Its provenance, as Yortan is not-certain. (Istanbul, inv. 7656)

7- Coarse fabric but fired hard. Slipped and burnished in red brown. Some reduced patches of grey. Plastic decoration in

the form of three sets of triple lines on--upper body. (Louvre, inv. CA. 1220 2)

SHAPE XIII Tankards (Fig. 70; Pl. XII)

1- Very coarse grey to coffee brown fabric. Hand made, thick

walls. Dull grey surface, smoothed or burnished. Pear shaped body with neck flaring to horizontal mouth. Two loop handles

flat in section. Broad, flattened base. (8.11., inv. 132446)

2- Similar fabric and surface details. It varies in the body

shape with round base, and shorter neck. (B. M., inv. 132445)

3- Similar in the general outline. Also hand made. But fabric

is very fine and light orange in colour. Smooth surface

coated in red brown slip. Squat body on round base. Two

handles also flat in section. (Louvre, CA. 1220 53)

SHAPE XIV Bird-shaped vessels. (Fig. 719 722 73; Pl. XII)

1- Fine., grey fabric. Surface slipped and well burnished in

black. Slanting spout partly missing. Flanged rim. Body

ornamented with nine plastic ribs, one on front extending from neck base to front feet. The remaining eight on sides,

172

in groups of four. Some of the ribs are missing. There is

one projection at handle base representing tail of the bird.

Tripod feet partly broken. (Louvre, inv. CA. 1220 10)

2- Burnished surface in black and light brown. Cutaway spout with flanged rim and flat top. Two knobs are on either side

of the rim in mid part of the cutaway spout. Twisted loop

handle. Body ornamented with plastic lines; two continuous lines cross over upper and lower register and join at back,

below handle base, and on front a grill-like motif of four

vertical short lines or bars. Two knobs, one on either side

of mid body. (B. M., inv. 132404)

3- Very fine fabric, fired hard. Slipped and highly burnished.

One side is in light brown, the other in black. In contrast to refined technical details ornamentation is rather crude in

the form of horizontal and vertical grooved lines on neck and

oblong body. Front spout below neck, the cutaway pouring

spout and small loop handle are missing. One of tripod feet

restored. Damaged mid body and three holes on belly.

(B. P2., inv. 132406)

4- Medium fabric, fired hard. Burnished surface (slipped? ) in

black and grey. Oxidised parts at slightly twisted handle and

cutaway spout. Carefully shaped, broad body resembling dumpy-

figure of a duck. Narrows to a delicate, pointed tail. Bet-

ween this projection and neck base parallel ribs in plastic. Spout broken and rim chipped. The back tripod feet restored. (B. M., inv. 132405)

5- Rather fine fabric. Probably slipped and burnished. Mostly

in dark grey colour. A large light brown patch on the back.

Rather large body on short tripod feet. Two on front are

partly broken, also the flat tail at the back. Cutaway spout

and loop handle broken in places. Two small knobs on spout below rim, one on either side. (Istanbul, inv. 3431)

173

6- Miniature vessel. Fine, dark grey fabric. Burnished. Form

of spout very similar to that of Shape VI juglets with slanting or oblique profile and narrow channel through neck. In-

cised decoration. Loop handle is missing. There is a small knob or "tail" at back. Short tripod feet. (Louvre, inv. CA. 1220 38)

7- Similar to above, no. 6. Spout is more like cutaway type. "Tail" at other end is flat and there is a knob underneath. Two more on the breast, one on either side of neck base.

Incised decoration of bands of dots (on either side of handle)

and zigzag line on mid body and front. Loop handle and two

of tripod feet missing. (Istanbul, inv. 3430)

Ber. no. 75 See W. Orthmann, 1966, Ist. Mitt. 16: 210 23.

8- Very-fine vessel. Dark grey, fine fabric coated with lustrous

red orange slip. Part of cutaway spout missing. Carinated

body with a flat "tail". Plastic ornamentation consists of two rectangles, one on either side of upper half of body, and filled in with parallel lines, also in plastic. There are two miniature "handles" on spout, one on either side and below

flanged rim. One small knob at neck base on front. Both

shape and technical details are unusual to Yortan pottery, and

museum registration does not specify it as a find from P.

Gaudin's excavations. (Istanbul, inv. 3432)

SHAPE XV Triple vessels (Fig. 74; Pl. XIII)

1- Quite fine, hard fired fabric, thin walls. Same colour surface

which may have been slipped, now worn out. Shape consists of

three jars with horizontal mouth joint on triangular plan

under a twisted loop handle. Three jars of unequal size orna-

mented in incision; the largest jar has a quadruple zigzag

band round body (or five chevrons) and a horizontal band on

174

neck; other two jars have hatched lozenges on body, three

on each jar. Incision is in thin, fine lines but rather shallow and careless. (8. M. ß inv. 132442)

2- Fine dark grey fabric with a soapy texture. Same surface colour, uniform all over. Rather a poor product with the jars

not fitting into the desired triple shape. Loop handle and rims are missing. The largest jar has a horn-like pointed knob and two vertically pierced lugs on upper body. Mouth

opening is'horizontal and large. Incised decoration consists

of a hatched band on shoulder, three rectangles on body, one with dotted interior and others latticed, and two strips of

perpendicular herring-bone motif. Smallest jar appears to

have mouth opening in the form of a narrow spout. One thick

stud on base brings the jar to the level of other two. Richly

incised with latticed rectangles, circles, and a hatched band

at spout base. Third jar has four lugs on body and one foot

on base. Incised motifs as above, also a wavy line and two

crescent-like incisions on lower body. Lumps of fabric which join jars one to another also decorated in incision, one wavy line on each lump, three altogether. (B. M., inv. 132443)

SHAPE XVI Rare vessels (Fig. 74j 75$ 76; Pl. XIII)

- Roughly shaped vessel. Black to light brown. Missing upper

parts, and handles/lugs. A large hole on one side, possibly

a sidespout. Uneven surface ornamented with white painted

lines that are faded. The shape could be a jar or jug.

(Louvre., inv. CA. 1220 88)

2- Extensively restored obscuring details of fabric. Surface in

dull dark grey colour, possibly smoothed but not burnished.

Slanting spout, flanged rim. In proportion the neck base is

much narrower than spout. Plastic ornamentation, three sets of quadruple bars and a pointed knob on neck base. Near rim

175

loop handle is vertically pierced. (St. Ger., inv. 58546)

3- Heavy black jug with a medium fabric and slipped and burnished

surface. Beak spout is quite horizontal and broad. Handle

rectangular in section. Twenty three flutings decorate the

body. (8.11., inv. 132407)

4- Very fine black/dark grey jug. Rather fine fabric and very thin walls. Slipped and burnished. Horizontal spout mostly missing. Short neck and everted rim. There are eight pointed knobs on upper body where body is broadest. In between knobs

are quadruple groups of parallel lines extending from neck base to base of body. (8. M., inv. 132409)

Ser. no. 26 See W. Orthmann, 1966, Ist. Mitt. 16: 80 9.

5- Fine black/grey fabric. Similar colour of surface, in places

lighter grey and buff. Possibly slipped. Double spout, and

single loop handle. Body and base are rounded. (Louvre, inv.

CA. 1220 25)

6- Fine fabric with thin walls. Mostly in dark grey colour.

Badly broken. Small flattened base is on tripod feet. Tall,

cutaway spout is considerably everted forming broad pouring

channel. Unusual decoration consists of a zigzag band of three

chevrons. The motif is incised, the only Yortan jug of this

shape with this type of decoration. Inside each chevron and

at handle base are large holes enclosed'. by thin bubble-like

features. (St. Ger., inv. 58568)

7- Rather fine fabric. Very smooth, possibly slipped surface is in dark grey and light brown. Part of cutaway spout mis-

sing. Carinated body stands on prominent tripod feet. Two

flat lugs on either side of body and small pointed knobs above this protrusion suggest an anthromorphic shape, possibly a double hedgehog. (Sevres inv. 10729 15)

176

7- Dark grey/black, paste (body shard)

The matrix is conspicuously micaceous containing very

fine, dense spicules of muscovite with smaller quantities

of biotite.

Quartz 0.05-0.02 mm rounded and sub-

rounded; scattered

Cryptocrystalline calcite 0.05-0.2 mm; scattered

Volcanic glass 0.2 mm; brown, rare

Iron oxide particles 0.1 mm; occasional

177

CLASS 8 POTTERY ̀ (Fig. 77j 780 79)

All twenty one vessels under this classification are hand-made,

without the use of the fast wheel.

1- Miniature bowl, or a lid. Rather fine fabric. Surface is

burnished and brownish. Interior is a little grey. Triple

lugs on either side on rim. (Louvre, inv. CA. 1220 30)

2- Miniature bowl, or dish. Fine fabric, light grey surface

colour. Raised base. On one side near rim are a pair of

holes. (8. N., inv. 132412)

3- Rather coarse jar that breaks easily. Probably slipped, sur-

face colour mostly in dark grey. Everted rim, carinated body,

and flattened base. On one side trace of a lug or side-spout.

-(Louvre, inv. CA. 1220 82)

Ber. no. 56 See W. Orthmann, 1966) Ist. Mitt. 16: 16s 1?.

4- Small jar. Surface colour varies between black and reddish

brown. Roughly made. Possibly slipped. (B. M., inv. 132377)

5- Roughly made miniature jar. Surface colour grey to dirty light

brown. Two vertically pierced lugs. (Louvre, inv. CA. 1220 43)

6- Small jar in light grey colour. Smoothed surface. Everted

rim pierced in two places. (Louvre, inv. CA. 1220 61)

7- Coarse, grey fabric. Surface coated with thin slip of same

colour. Lug and side-spout missing. (Louvre, inv. CA. 1220 62)

8- Coarse, gray fabric.. Same colour surface smoothed. Most of

neck., -and all of loop handle are missing. Also where there

is a lid there must have been a single spout. Flat, raised

base. (Louvre, inv. CA. 1220 78)

178

9- Rather fine fabric in dirty brown colour. Slipped and bur-

nished surface is in black. Horizontal mouth chipped. Two

sets of double lugs, one set on either side of body. Lugs

are vertically pierced. Rather thick walls, large globular body sits on flattened base. (Louvre, inv. CA. 1220 69)

10 - Light grey and brown fabric. Surface coated . with red brown

slip, mostly worn out. Vertically pierced lugs are missing. Below flanged rim-neck is pierced in three places. Raised,

flat base. (Louvre, inv. CA. 1220 47)

11 - Very fine red orange fabric. Surface in same colour slip

coating but mostly worn out. Flanged rim pierced in two

places. Two pointed and vertically pierced lugs on mid

body. Flattened base. (St. Ger., inv. 58571)

12 - Red fabric, covered with thin wash of light brown and reddish

colour. Five small knobs on body, a sixth is below handle

base. Small tripod feet. Rather roughly made vessel. Part

of obliquely cut spout is missing. Loop handle slightly

twisted. (Louvre, inv. CA. 1220 67)

13 - Rather fine fabric, fired hard. Mostly in light grey without

burnishing. Thick, round loop handle. Spout missing. (Louvre, inv. CA. 1220 66)

14 - Medium fabric, fired hard and light brown in colour. Smoothed

surface of similar colour, grey in places. Possibly had a

thin slip. Rather thickly made, heavy jug. Three prominent

knobs on body and one on handle. Flattened base, set off

centre. (St. Ger., inv.

15 - Rather fine fabric, fired hard. Uniform dull grey colour.

Probably only smoothed. obliquely cut spout, small twisted*

loop handle. (louvre, inv. CA. 1220 49)

179

16 - Uncleaned surface obscures details. Overall colour seems to

be in a tone of red but with dark grey patches. Probably

slipped. Obliquely cut spout, grooved loop handle.

(5t. Ger., inv. 58557)

17 - Uncleaned surface. Rather fine, hard fired fabric in coffee

brown. Surface colour appears to be mostly in dark grey,

possibly slipped. Rather thick jug, twisted loop handle

partly worn out. There are three knobs round mid body. At

the point where handle joins spout are two pointed knobs,

one on either side. Spout is cutaway type with the upper

part pressed-from sides into a bifoil-like form.

(St. Ger., inv. 58551)

18 - Very fine fabric in light red/orange colour. Surface slipped

and burnished in red brown. Thin, round basket handle. Side

spout is missing. (Istanbul, inv. 3466)

19 - Fine, light grey fabric. Smooth surface shows traces of a

red brown slip. Rather thick "teapot". Thick, round basket

handle,, and side spout. Rim lip is flat and slants inward.

Flattened base. (Louvre, inv. CA. 1220 5)

20 - Very fine, red orange fabric, slipped and burnished in similar

colour. Very thin Walls, shaping is slightly asymmetrical.

Tip of side spout chipped. Also round basket handle is broken

in the middle. (Louvre, inv. CA. 1220 51)

180

CLASS C POTTERY (Fig. 79-83; Pl. XIV; XV; XXI, no. 8,11)

1- Fine, hard fired fabric in red orange colour. Surface-covered

with same colour thin slip. Rather thin walls, thick round handles. Flat, possibly string-cut base. Wheel-made.


2- Very fine Slight grey fabric., fired hard. Surface probably

slipped with same colour, and uniform all over. Ring base

slightly sunken in the middle. On body are two pointed lugs

with vertically pierced large holes. Everted rim also pierced

in two places. Tall neck decorated with shallow grooves.

Wheel-made. (Sevres inv. 10729 14)

3- Surface covered with lime encrustation obscuring details.

Rather fine fabric, fired hard and in light red colour. Prob-

ably-surface has slip coating of similar colour. Rather squat

body on rounded base. Most of horizontal mouth missing. Also

one of loop handles lost. Wheel-made. (St. Ger., inv. 58569)

4- Medium fabric. Surface colour in light grey. Spout bifoil

or trefoil in shape, chipped in places. Carinated body, small

flat base. Hand-made. (Louvre, inv. CA. 1220 79)

5- Very fine jug where fabric fired to a metallic hardness in

very thin walls. Unburnished surface in dull light gray colour.

Possibly slipped. Ring base, round loop handle. Horizontal,

bifoil spout. Grooved lines on neck and lower body. Wheel-

made. Its provenance as Yortan is not certain. (St. Car.,

inv. 46390)

6- Very fine, grey fabric and surface. But shaping is poor with

the flattened base lying quite off centre. Bumpy surface.

Horizontal spout is cut out above handle. Possibly Wheel-made.

(Sevres inv. 10729 12)

181

7- Fine, light grey fabric, fired hard. Without burnishing,

but may have had a thin slip coating in light red brown

colour. Roughly shaped. Slightly beak-like spout, partly

chipped. The mouth opening is in leaf shape. Grooved and impressed lines and dots. Hand-made. (Louvre, inv.

CA. 1220 3)

8- Fine fabric. Surface is coated in a thin red orange slip,

mostly worn out. Lower parts of body have black patches. Rather roughly shaped. Bumpy surface, round body sits crooked

on flattened base. A very tall and narrow beak spout. Hand-

made, (B. M., inv. 132.14

9- Very fine, hard fired fabric in light red colour. Surface

coated with a thin red slip. It is a faultless product,

shaped to perfection. A tall, round neck has cutaway spout

with everted rim. Loop handle is round. It is by far the

finest product of the'site. Possibly wheel-made. (B. M..,

inv. 132410)

10 - Very fine fabric, fired hard and light orange red in colour.

Similar to above jug, no. 9. Red brown slip coating. Missing

spout and loop handle can be restored according to no. 9 jug.

Probably hand-made. (Sevre, inv. 10729 10).

11 - Fine, hard fired fabric in orange/red colour. Surface slipped

in same colour. Broad, flattened base, round handle. Tall

beak spout missing. "Hand-made. Its provenance as Yortan is

not certain. -(Paris Inst., inv. )

Red paste The matrix is birefringent from orange to red and is very

micaceous. The mica appears to be muscovite and the

crystals are less well-defined than in no. 2 5,159 . Quartz 0.1-0.3 mm sub-angular; scattered

Polycrystalline quartz 0.4 mm; occasional

Muscovite 0.2 mm; scattered

Biotite 0.2 mm; scattered

182

12 - Coarse fabric in red brown colour. There is a grey core.

Surface coated with thin dirty brown colour slip. Large

body, three small knobs on the middle part. Round handle.

Spout is missing, but could be restored to the tall beak form

as aboves no. B. 11. Hand-made. (Paris Inst., no. 3)

13 - Rather fine., light brown, reddish in colour, and tired hard.

Surface in red brown slip, now mostly washed off. Very tall

neck and beak spout, slightly everted rim. Round loop handle.

Flat base. Hand-made. (Louvre, inv. 'CA. 1220 54)

14 - Very fine, hard fired fabric in light grey colour. Some sur-

face colour in slip coating. Tall neck and cutaway spout

with flanged rim. Twisted loop handle. Body is lentoid in

shape, possibly made in two parts and joined as indicated by

line below handle base. Hand-made. (B. M.., inv. 1 32! {11)

Ber. no. 36'' See W. Orthmannp 1966p Ist. ýt. Mtt. 16: 11p 12.

15 - Very coarse fabric, and thick walls. There is a reddish centre

marked by thin layer of grey on either side. Slipped surface.

Base of neck marked by a ridge. Form of spout is uncertain.

Hand-made. (Louvre, inv. CA. 1220 100)

Ber. no. 27 See W. Orthmann, 1966, Ist, Mitt. 16: 8s 9.

16 - Coarse fabric in a mixture of grey and dirty brown colour.

Surface only roughly smoothed. Tall neck, tip of spout is

missing. Handle and neck marked by deeps coarse grooving.

There is a pair of knobs on front body. Hand-made. One gets

the impression that this is an unfinished product. (Louvre,

inv. CA. 1220 1)

17 - Very fine fabric. Dark grey surface colour with some oxidised

patches in red. Smoothed surface that may have once had slip

coating. Rather thin walls, everted rim, carinated body, and

183

flat base. Handle is very broad, and flat in section. Marks

of a fine comb-like tool on surface. Wheel-made. (8. M. ß inv. 132494)

18 - Fine., hard fired fabric. Surface is marked by impression

of straw that may have been in the fabric. Light gray and light brown colour. Surface now covered with some shiny substance, is. wax, or varnish. Shape is a pair of human feet with toes and ankles indicated. Probably belongs to

a vessel with close upper part. This is indicated by the inner surface of the piece which is left untreated either by

smoothing or slip coating. Hand-made. (B. M. p inv. 132447; inv. 132448)

YORTAN FIGURINES (Pl. XVI)

Both are made of white marble. Smaller piece has incised

feature on other side. (Louvre, inv. CA. 1220 1s 2)

YORTAN SPINDLE WHORLS (Fig. 840 850 86; P1. III, no. 8)

1-36 All are made of very fine fabric and sometimes burnished.

Surface colour varies between tone of grey and light or reddish brown. Shapes are variations in bifoil and truncated

bifoil. Several, no. 31-36p are flat or cylindrical. When

ornamented it is in incision, sometimes white filled. All

finds belong to B. M. collection, inv. 1321}. 5 2. -4.0

YORTAN METAL FINDS (P1. XVI)

See K. Bittel, 1939, A. f 0.13: 21.

184

POTTERY FROM 6ABAKOY (Fig. B7)

For no. 1., 4j, 5. p11., see K. Bittel,, 1939, A. _f

0.13.

For the rest, see W. Orthmann, 1966, Ist. Mitt. 16: 1 rf.

POTTERY FROM SOMA (Fig. 88)

See W. Orthmann, op. cit.

Small terracotta object of uncertain provenance, see H. Th.

Bossert, 1960, O. 29: Tab. LXXXVI

POTTERY FROM PERGAMON (Fig. 88)

See A Conze (1912) Altertümer von Pergamon I, 2. Berlin,

p. 157, Fig. 100 11; p. 158, Fig. 12.

185

POTTERY OF UNCERTAIN PROVENANCE (Fig. 90-97; P1. XVII-XIX;

P1. XXI, no. 27)

1- Black burnished. Incised and white filled ornamentation. Hand-made. Private Collection.

2- Fine black burnished. Two horizontally pierced lugs. Incised

decoration. Hand-made. Private collection.

3- Grey/black ware. Ledge handles. Hand-made. Private collec-

tion.

=. 4 - Grey burnished. Grooved decoration. Hand-made. Private

collection.

5- Black burnished. Four sets of double knobs on rim. Hand-

made. Private collection.

6- Grey/black ware. Four sets of double knobs on rim. Hand-

made. Private collection.

7- Fine,, black burnished. Incised decoration. Hand-made.

Private collection.

e- Very fine black burnished. Incised decoration. Hand-made.

Private collection.

9- Lid and pyxis in grey ware. Possibly slipped and burnished.

Four holes below rim; corresponding four holes on lid.

Incised decoration is crude, more like scratching the surface

with a fine point. Hand-made. (8. M. ß inv. 132898)

10 - Very fine black burnished. Incised and white filled deco-

ration. Hand-made. Private collection.

11 - Fine black burnished. Incised and white filled decoration.

186

Hand-made. Private collection.

12 - Fine black burnished. Incised and white filled decoration,


13 - Black/grey burnished. Incised and white filled decoration.


14 - Fine black burnished. Incised and white filled decoration.


15 - Lustrous black burnished juglet. Cutaway type spout, knob

at handle base. Incised decoration of triple zigzag band

and swastika. White filled incision. Hand-made. (B. M.,

inv. 135478)

16 - Burnished black jug. White painted chevrons mostly faded.

Round base, obliquely cut spout.

17 - Fine burnished surface. Mottled in light brown, buff and

light red. Incised decoration. Inside traces of red sub-

stance. Hand-made. Private collection.

18 - Fine fabric. Surface colour is dull dirty brown and light

grey. Thin walls, but asymmetric shape. One of four loop

handles missing. Knobs in between handles. Hand-made.

(Brussels, inv. P. G. 51.1.13)

19 - Grey/black jar on tall tripod feat. Hand-made. Private

collection.

20 - Jet black, and white filled incised decoration. Two pierced

lugs and four feet. Hand-made. Private collection.

21 - Grey/black jar. Incised decoration. Hand-made. Private

collection.

187

22 - Grey/black jar. Missing basket handle. Incised decoration.


23 - Black/dark grey burnished surface with a reddish brown undertone. Broken spout. Small but well centred flattened base.

Three sets of triple chevrons on body. Hand-made. (Brussels,

inv. P. G. 51.1.10)

24 - Grey/black burnished jug. Hand-made. Private collection.

25 - Coarse jug with a dull surface colour of black to grey and

red brown. Broken spout. Three knobs on body had originally

been inside three sets of triple painted chevrons, now almost

completely washed out. Roughly twisted handle. Hand-made.

(Brussels, inv. P. G. 51.1.7)

26 - Well shaped, fine jug. Very smooth surface is in dull grey

and red colour. Not burnished. Rather rigid outline. Rim

top is flat near handle. Hand-made. (Brussels, inv. A. 2389)

27 - Dark grey, medium fabric. Surface colour in reddish orange

mixing, with light grey. Slipped but not burnished. Three

flat knobs and three sets of triple chevrons which in places

are in a grey colour darker than the surface of pot. Obliquely

cut spout is missing. Hand-made. (Brussels, inv. P. G. 51.1.22)

28 - Very thickly made jug. Dull surface colour is dark grey with

some reddish patches. Tip of spout missing. Probably quite

tall. and beak-like. But it could also be cutaway type. Three

knobs and three sets of triple chevrons on body. White painted

chevrons are largely faded. Small plastic 'pendant' motif at

neck base. Hand-made. (Brussels, inv. P. G. 51.1.1)

29 - Uniform black surface. Dull colour without burnishing. Three

tall-feet, shape of missing spout could be cutaway or slanting.

Three sets of triple, white painted chevrons on body.

188

Hand-made. (Brussels, inv. P. G. 51.1.19)

30 - Burnished surface. Overall colour is reddish brown with little black or dark grey areas. Top of cutaway spout worn out. Rather globular body with slightly rounded base. Two knobs on-spouts one on either side and below everted rim. Four sets chevrons; each composed of five parallel, lines in

matt white painting. Pointed knobs in each chevron. Hand-

made. - (B. 11. ß inv. 132497)

31 - Coarse., black ware. Hand-made. Private collection.

32 - Very fine, jet lustrous surface. Ornamentation incised and

white filled. Hand-made(? ). Private collection.

33 - Fine fabric. Dark grey surface, possibly slipped and bur-

nished. Largely restored. Main jar consists of a tall

cylindrical neck, flanged rim, and a large round body. Round

base. On upper body are four small hole-mouth jars and four

small loop handles in between jars. Each jar is pierced below

rim in two points. Incised decoration. Hand-made. (Cambridge,

inv. G. R. 2.1947. From Babaköy(? ). Given by 3. R. Stewart)

34 - Triple vessel with a fourth small jar on one side. Fine

fabric, possibly coated in thin slip of dark grey colour.

All three have horizontal mouth and everted rim. Rim of

small, fourth jar is missing. Rather worn out surface. White

filled incised decoration. Hand-made. (Institute of Archaeo-

logy, London)

35 - Triple vessel of similar surface as above, no. 34, but without

the additional fourth, small jar. Uncleaned surface ob-

scures details. Dark grey black fabric. Rim and neck parts

and loop handle missing. Incised decoration of wavy bands

and concentric circles. Hand-made. (Louvre, inv. CA. 1361 1)

189

36 - Very fine jug. Black burnished with little brown patches. Tall elegant neck with a pointed, leaf shape spout. Everted

rim, with a flat top. Neck grooved in the middle. Double twisted handle. Pear shaped, carinated body with flat base,

and on tall., cornered tripod feet. A small loop handle on mid body at front, and two horn-like projections on either side

of body. Hand-made. (Brussels, inv. 0.3434, Burdur region(? ))

37 - Dark grey ware. Incised decoration on body and on four feet.

Private collection, (See also W. Orthmann, 1966, Ist. Mitt.

16: 15., 17)

38 - Lustrous black jug. Slipped and burnished. Tall cutaway

spout, flat, strap handle. Upper part of carinated body

covered with flutings. (Brussels, inv. 0.3601)

190

ABBREVIATIONS

AAA Annals of Archaeology and Anthropology: Liverpool, Acts Arch. Acta Archaeological Kgdbenhavn.

A. f 0. Archiv für Orientforschung.

AJA American Journal of Archaeology. An. St. Anatolian Studies. Arch. Archaeology

ASAA Annuario dells {Regis} Scuola archeologica di Atone

e delle missioni italiane in Orients.

Ath. itt. Mitteilungen das Deutschen Archaalogischen Instituts,

Athenische Abteilung.

8* d A. Bolletino d'arte.

all, 8elleten1Türk Tarih Kurumu.

Beycesultan S. Lloyd and D. Mellaarts Beycesultan I, Londons

1962.

BSA Annual of the British School of Athens.

CAH The Cambridge Ancient History.

CRAT Comptes rendus des Seances do I'Academie des inscrip-

tions et belles-lettres.

CUA Corpus Vasorum Antiquorum.

FS Fundberichte aus Schwaben.

Nos . Hesperia.

HSCP Harvard Studies in Classical Philology.

. ILN Illustrated London News.

Ist tt. Istanbular Mitteilungen.

Or Orientalia.

SAPS Proceedings of the Prehistoric Society.

RAICP Royal Anthropological Institute of Great Britain

and Ireland, Occasional Papers.

St. M. A. Studies in Mediterranean Archaeology.

Sty al. Studie Balcanica.

Thermi I-IV W. Lambs Excavations at Thermi_on Lesbos. Cambridges

1936.

191

Troy I., II °- C. W. Blegen, 3. L. Caskey, M. Rawson, J. Sperling,

Troy I. The First and Second Settlements,

Princeton, 1950. Troy III, IV C. W. Blegen, at al.., Troy II. The Third. Fourth

and Fifth Settlements, Princeton, 1951.

TTAED Türk Tarih, Arkeologya ve Etnografya Dergisi.

192

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the yortan culture within the early bronze age by turhan kiamil volume i

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